SEM 1 2014 | CLINTON OH STUDIO AIR | 561297
Studio AIR 2014/SM1 Land Art Generator Initiative
Table of Contents Introduction 3 Part A: Conceptualisation A.1 Design Futuring 5 A.1.1 Precedent Project A.1.2 Projects Review A.1.3 Technology Exploration A.2 Design Computation A.2.1 Precedent Exploration
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A.3 Composition/Generation 21 A.3.1 Precedent Exploration A.4 A.5 A.6 A.7
Conclusion 26 Learning Outcome 27 Appendix - Algorithmic Sketches 28 Part A Bibliography 29
Part B: Criteria Design B.1 Research Field 31 B.1.1 Biomimicry A.1.2 Design Precedent
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B.2 Case Study 1.0 B.2.1 Precedent Study B.2.2 Definition Exploration B.2.3 Summary
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B.3 Case Study 2.0 B.3.1 Ornament B.3.2 Precedent Study B.3.3 Reverse Engineering B.3.4 Summary
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B.4 Technical Development B.4.1 Form Development B.4.2 Pattern Development B.4.3 Summary
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B.5 Prototype 85 B.5.1 Structural System B.5.2 Cladding System B.6 Technique: Proposal 91 B.7 Learning Objectives & Outcomes
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B.8 Appendix: Algorithmic Sketchbook
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B.9 Part B Bibliography
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Studio AIR 2014/SM1 Land Art Generator Initiative
Introduction
Who am I? I am Clinton Oh, a third year architecture major of University of Melbourne as of 2014. My interest in designing and solving problems is what lead to me to engage with architecture. I am interested to see how the urban environment fit into the natural environment and how it is able to extend the quality of the environment as well as lifestyle of the users. In my opinion architecture is about creating experience and express emotion in term of construction. In a way, architecture can be compared with a way of essay writing.
What I hope to learn from this subject? I had some experience in handling Rhino 3D in my first year subject, Virtual Communication which introduced me to the exploration of 3D modelling. From the beginning of the subject, I was certain that I had limited knowledge and skill in Rhino 3D even though I had some experience in handling the software. Yet, it did not stop me from feeling excited and anticipated to learn Grasshopper. In conclusion, I look forward to explore what computational tool can provide.
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Part A: Conceptualisation A.1 Design Futuring A.2 Design Computation A.3 Composition/ Generation
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A.1 Design Futuring
As finite being in a finite world, we are currently confronting defuturing of the unsustainability. There is significant damage inflicted towards nature by inconsiderate human activity generally for the past few decades. Environmental issues thus start to gain awareness as the effects become obvious and catastrophic. In our current situation, it is known that the relation between creation and destruction coexist in every joules of energy we harvest and consume and different field tend to focus on different aspect of the problem and fail to set a primary objective in order to resolve it(Fry 2008). However, what can we do as designers to rectify or improve the current situation? ‘we all design’ suggests that design is an act defined as a humanly ability that is able to prefigure our creation before realizing it(Fry 2008). But, this definition has been used literally to designers today and is considered very narrow. Fry suggest that we should put down our practices and understand the problems through communication not only within field but beyond to broaden our vision and further understand the complexity of the current situation. In conjunction to the design industry, designers have failed to recognize and take responsibility for their quality of work(Fry 2008). In other words, the ethics of design is underdeveloped and is even overlooked within design education. By recognizing the context of our work, we can ensure the future of our design as well as the sustainability of our finite beings.
Part A Conceptualisation
The lack of urgency also contributes to high uncertainty issues in complexity which result in the negligence of designers in the impact of their work. However, the assurance of increasingly obvious symptoms of defuturing is definite and should be address seriously. Without information, it will be too late to rectify as massive loss will be definite. Take for example, the rise of sea level caused by global warming due to greenhouse gas emission will increasingly take away Bangladesh bit by bit. By 2100, there will be an estimated 500750 million environmental refugees (Fry 2008). This is just a small scale of the problem we are encountering. Therefore, urgency to resolve this problem should be addressed at utmost importance. Therefore, design practices should be redefined and rearranged to make a difference to a far more sustainable planetary habitation. Architecture is commercialised in recent years as computational software is able to produce hundreds or even thousands of selection in short amount of time so user can just simply pick and incorporate into their work (Fry 2008). This suggests that designers are too involved in styles and appearance which neglected the responsibility of the consequences of their design. This can only be rectify through the prioritization of sustainability into the market. It is important that we achieve a sustainable future as finite beings and should be constantly reminded and reinforced in design studies. Yet, the methodology behind it is still unclear and should be looked into and require more research.
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“I have two responsibilitie to be true to myself and b integrity... The othert res vigilant analytical observe we remain relevant to soc
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Part A Conceptualisation
Studio AIR 2014/SM1 Land Art Generator Initiative
A.1.1 Precedent Project Project: Architect: Location: Year:
RMIT Design Hub Sean Godsell RMIT University, Melbourne 2012
The purpose of the design hub is to accommodate provide a comfortable working environment to researchers and facilitate high level exchange among users of different field. The main attraction of the building is its large number of ecological sustainable development (ESD), primarily the automated photovoltaic cells which are incorporated in the facade(Sean Godsell Architects n.d.). This future possibilities is also extended through the allowance of an upgrade of technology in the future. In other words, the photovoltaic cells can be changed to improve the energy production and achieve sustainability. Exteriorly, I don’t find it as appealing. However, the very idea of photovoltaic panelling on the facade invoke curiosity of users as well as passersby. The interior open plan design contribute to the coincidental meeting of people from different field. Occasional exhibition is worth mentioning as well as it also invite the public to participate which result in the exchange of idea.
es as an architect: one is be an artist of the utmos sponsibility is to be a really er of society — by doing so ciety.” Sean Godsell
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A.1.2 Projects Review
This project has proven that green technology can be applied into installations or buildings at any scale without compromising the lifestyles of the user but in fact, acts as an installation that improves and extend the beauty of the site itself. The participant first addresses the history as well as the surroundings to introduce his design concept by correlating information to form an initial thought process that further develop into the final form. More interestingly, the presentation of problem and solution is what interests me the most as it addresses the problem that might occur. The participant has done a really good job in finding solutions to problems he addressed and thus, producing an interesting installation which extends the beauty of the site. However, I think the project lacks user engagement and fail to establish a link between the users and the installation. Given that the installation is a 360o look out which give the sense of weightlessness and fragility, the direct interaction between the users and the installation is not clear and I think this had slightly led the project down.
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(Withdrawn from Land Art Generative Initiative)
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Turbine Bridge Architect: Location: Year:
Adam Wierciński Architekt Amsterdam, Netherlands 2012
The turbine bridge creates a dynamic facade which incorporates the generation of energy. With the presence of kinetic energy produced by wind and the flow of the water, this energy is converted to electrical energy which is conserved to supply the need of power of the design as well as its environment. The idea of generating energy through renewable sources is as mentioned, getting more and more prominent and is practiced widely to ensure sustainability in the near future. The dynamic facade which functions as a turbine allow the users to experience the constantly changing view from the inside as well as outside which will potentially invoke curiosity and interaction for users to be creative and well aware of the idea of sustainability. As such, I find the intimacy between the users and the design is exceedingly significant here as the direct interaction through the constant changing facade can be viewed both interiorly and exteriorly.
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A.1.3 Technology Exploration Vertical Axis Wind Turbine Various designs of the vertical axis wind turbine systems-> The vertical axis wind turbine (VAWT) is a wind turbine that convert wind energy to power in the vertical axis, as the name suggests. Unlike the horizontal-axis wind turbines(HAWT), the implementation of VAWT does not require the consideration of orientation and wind sensing. This opens up the design opportunity as it is not as constraint and limited. Even though the efficiency of the turbine is highly dependent on the design, VAWTs are able to collect wind energy at wind level of relatively low speed as compared to HAWTs. The cost of installing VAWT is also comparably lower due to its easily installed mechanical system.
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A.2 Design Computation
Design computation refers to the effective usage of computational methods for 3D modeling and computer graphics through the application of mathematical concept in design professions (Rajaa n.d.). The rapid development and evolution of digital technology has heavily influenced architecture in the last decade and has produced innovation in the entire industry, from the initial design processes to final stages of fabrication. In terms of changing the industry, design computation has become a revolutionary tool to invent new methodology to design and communicate. Analysing problems,setting goals, devising solutions, evaluate the efficacy and communicating with experts as well as clients are considered basic consideration that need to be undertaken as designers (Oxman & Oxman 2014). With current computational technology, this process has been eased and easily recorded to provide promising results as computational tools, unlike humans, are less likely to make simple mistakes. However, the creativity of the human minds compensate the fact of the cold and heartless mind of the machine.
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In a more significant note, the vast availability of computational aided designing software, the transition from representational approach to a holistic approach is worth mentioning. Monumentality is a key aspect in most historical precedent (Kalay 2004). However, this approach is unsuitable for the current era as representation is no longer the only consideration. Instead, many factors are needed to be considered to set up goals and produce starting pointers to guide the design process as well as formulate solutions. Unlike the human mind, computers are advanced and specialized in generating and monitoring complexity (Rajaa n.d.). This allows the freeing up of forms from a more geometrical to complex forms. In other words, the transition from bold architectural language to smooth architecture which has more direct reference to nature is the result of the cooperation between man and computer. Innovation of materials and construction method is also stimulated through the introduction of computation design(Oxman & Oxman 2014). The combination of computation efficiency and human creativity allow more development of new and effective solutions to counter existing or even newly discovered problems- E.g. new methodology of production, more efficient constructions and effective prototypes to test out ideas which all of these are more difficult before the introduction of this technology.
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A.2.1
Precedent Exploration
Name: Architect: Year:
Beijing National Stadium Herzog & de Meuron 2001-2008
The Beijing National Stadium is a prominent example of design computation where the complexity of materials and form is shaped together with the art of technology. The facade of the stadium forms the structure as well as space within, creating a public space for sporting events(Herzog & de Meuron 2007). The unstable context of the site of Beijing challenges the designers to form new methodology to incorporate the stadium. Though fragile looking, the stadium is ecofriendly and earthquake resistant. With the aid of technology, designers are allowed to monitor and scope present and future possibilities as well as hazards.
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Beijing National Stadium
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Homeostatic Facade Homeostasis is a common phenomena that occur in the natural environment where it regulates the innternal conditions through actions that will lead to another(Minner 2011). The relationship as well as representation give inspiration to designers to produce design with better functionality and efficiency. Decker Yeadon applied homeostatic facade system onto the double skin technology by incorporation of its flexibility and low power usage of the dielectric elastomers. The homeostatic facade system reacts to environmental condition to give a constantly changing facade not only aesthetically pleasing but functionally effective in shading the interior from sunlight to reduce cost as well as energy of cooling significantly. Similarly to the natural homeostatic behaviour in biological systems, the facade regulates the internal building climate by responding to different environmental conditions automatically.
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A.3 Composition/Generation
Algorithm is a recipe, a method or a technique to create something. Or to be more technical, algorithm is the precise list of simple operation applied mechanically and systematically to a set of creation(Wilson & Frank 1999). As computational design are getting more and more convenient, simple algorithm can produce complex designs in a matter of seconds. What is more promising to the industry is the innovation of 3D printing which has transform the design industry entirely and has linked the once disconnected virtual environment into the built environment to a whole new level (Brady 2013). Forms and complexities that once was thought impossible to create is now eased by the use of 3D printing where virtual forms and shapes can be realised without errors. With the rapid development of technology, architecture has to leap into a new era to cope with the need of improvement. Architects which used to be poets or translator of the construction language, have to turn to technology to create a new form of expression as well as incorporating the needs of the present and future. The shift to generation of design through algorithm has shaped the entire design ideas as well as development to monitor the present and the future.
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A.3.1 Precedent Exploration Temporary Art Pavilion Name: Temporary Art Pavilion Architect: Soma ZT GmbH Location: Salzburg Year: 2011 Predominantly for classical music festivals, Salzburg Biennale, the temporary pavilion creates a unique location for art production(SOMA n.d.) Soma ZT GmbH integrates art as a cultural tool to promote curiosity and invites visitors to experience the new and unknown. From a distance, the pavilion is not directly understandable, the pavilion can only fully reveal itself through intimate engagement with the building. The repetitive sectional patterning along the arcs which protrudes sequentially is interesting as it forms an experiential space within for performance art.
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BLOOM by DO|SU Studio Architecture
BLOOM is a combination of elements into a single structure that changes its appearance throughout the day with respect to temperature and light conditions (dOSu Architecture Studio 2012). It is dynamic in both perspective and temporal as the audience is not able to have a constant image both in term of where and when they view it. The design defines the experiential qualities of the space around and within the structure. This incorporation of art with the aid of computational tool is what the industry is driven by and is practiced widely in today’s context.
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A.4 Conclusion In present day, as urgency for sustainability increases with the increasingly serious problems human activities produce, the need for environmental awareness is highly demanded in every individual as well as industry. With the exploration of new technology both in the virtual and the built environment as well as the connectivity between both, designers have achieved a new level incorporating green technology in the design field.
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A.5 Learning Outcome The exploration of definition has gave me a clear understanding on the current design industry as well as innovation in order to achieve sustainability. With this, I am more well prepared and inspired to work harder not only in this course but in the future industry. What I find the most influential in these few weeks was the ability of simple algorithm with the selection of correct materials to create dynamic and sustainable designs. Moreover, this has also increased my appreciation for design as a tool to solve problems and guide humanity to its sustainable future.
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A.6 Appendix Algorithmic Sketches It’s been exciting and yet sometimes frustrating to enjoy the process of adapting to a new toolGrasshopper. However, I believe the skill of handling new software is highly dependent on the motivation to practice more and further understandings of basic principles of the algorithm. Combination of various simple algorithm can produce different impressive and interesting results. With further understanding, more predictable results can be obtained at ease.
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A.7 Part A Bibliography A.1 DESIGN FUTURING Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Land Art Generator Initiative Competition Entries (2012) <http://landartgenerator.org/LAGI2012/> Sean Godsell Architects (n.d.). RMIT Design Hub <http://www.seangodsell.com/rmit-design-hub> Adam Wierciński Architekt(n.d.), Turbine Bridge < http://www.dwawu.com/>
A.2 DESIGN COMPUTATION Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and associates, pp 1 - 42 Herzog & de Meuron, 2007, 226 National Stadium, < http://www.herzogdemeuron.com/index/ projects/complete-works/226-250/226-national-stadium.html> Minner,K ,2011, Moving Homeostatic Facade Preventing Solar Heat Gain, Archdaily, <http://www. archdaily.com/101578/moving-homeostatic-facade-preventing-solar-heat-gain/>
A3 COMPOSITION/ GENERATION Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press) Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-1 dOSu Studio Architecture, 2012, BLOOM, <http://www.dosu-arch.com/bloom.html#> SOMA, n.d., Temporary Art Pavilion, Salzburg-AT2011, <http://www.soma-architecture.com/index. php?page=vague_formation&parent=2>
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PART B CRITERIA DESIGN
B.1 RESEARCH FIELD
Studio AIR 2014/SM1 Land Art Generator Initiative
Biomimicry. Biomimicry derived from the combination of two
Latin word bios and mimesis which represents life and imitate respectively is a new field of study that derive ideas from nature and then learn and apply the designs and processes to produce solutions to human everyday problems. Innovation inspired by nature is driving todayâ&#x20AC;&#x2122;s industry into a better future. The reason we explore nature as a source of innovation is because nature function as the reason and solution to every single properties. Animals, plants and microbes applies their knowledge of what works, what is appropriate and most important into their set of survival skill which contributes to the existence of their species. Fossils are the living evidence of the failure and what surrounds us is the library of our inspiration. The survival strategy for the human race is highly dependent on the conscious of the source of nature as a resource to continue our existence. The functionality of our world should based heavily on the natural world to maintain a sustainable future.
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“The more our world functions like the natural world, the more likely we are to endure on this home that is ours, but not ours alone.” Janine Benyus
Nature as model Biomimicry is a new science that studies nature’s models and then emulates these forms, process, systems, and strategies to solve human problems sustainably.
Fundamentals of Biomimicry
Nature as measure Biomimicry uses an ecological standard to judge the sustainability of our innovations. After 3.8 billion years of evolution, nature has learned what works and what lasts. Nature as mentor Biomimicry is a new way of viewing and valuing nature. It introduces an era based not on what we can extract from the natural world, but what we can learn from it. (Extract taken from The Biomimicry Institute,USA) Image Source: http://www.designboom.com/technology/metallic-velcrosteel-hook-and-loop-fastener/ source: Biomimicry Institue,(n.d.), What is Biomimicry?, accessed 3 April 2014, < http://www.biomimicryinstitute.org/about-us/what-is-biomimicry. html>
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東京
DESIGN PRECEDENT
AIRSPACE_TOKYO
Located in Ota-ku district in Tokyo, the site was previously occupied by a residence which uniquely wrapped by a layer of dense vegetation. Since the existing building was removed entirely to accommodate construction for the new larger development, Faulders Studio revived the similar attributes of the previous demolished greenery and replaced it with a new atmospheric space of protection.
source: Faulders, T. (2007), Airspace Tokyo, accessed 3 April 2014, < 2. http://faulders-studio.com/AIRSPACE-TOKYO> source: Source: Faulders Studio (2013) ‘Airspace Tokyo | Faulders Studio’, Arch20, accessed 2 April 2014, <http://www.arch2o. com/airspace-tokyo-faulders-studio/>
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The system of the facade acts as artificial vegetation which performs to provide shading and reflection of excess light away from the building, in the mean time, channel water away from the building and exterior walkways by way of capillary action. The process derives its inspiration from the functionality of the canopy of forest. The skin mimics the functionality of the canopy in a forest to provide an interstitial environment of several layers to create a barrier to the interior. The overlaying of different layers of meshwork with different densities at different area responds directly to the need of the internal environment.
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The quality of green revivalism is astonishingly commendable as it preserve the previous attributes of the site which takes into consideration the neighboring residents to maintain the tradition while providing a new inspiration to the site. In term of the idea of deriving inspiration from the natural world, the process of the vegetation inspired facade system allows a more efficient use of energy of the building as well as producing a better environment to the interior as it compliments the interiors at different point of the building. As shown in photograph obtained from Faulders Studio, the interior is illuminated and shaded proportionally by the overlapping of the different layer of meshwork.
Image source: Thomas Faulders Architecture, Studio M <http://fauldersstudio.com/AIRSPACE-TOKYO>
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B.2 CASE STUDY 1.0
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THE MORNING LINE Aranda Lasch The Morning Line which functions as a stage for contemporary music, is an instrument as a building itself. Using a unique interactive multi-spatial system which is configured by Mathew Ritchie and the Music Research Centre at York University, the building is saturated with many speakers in order to create a musical ambience to the visitor. The ability to reconfigure depending on the type of performance and ability to adapt to change in accordance to contemporary music ensures the dynamism of the installation.
source: Thyssen- Bornemisza Art Conteporary, 2013, accessed 7 April 2014, < http://www.tba21.org/pavilions/49/page_2?category=pavilions> source: Choi, L.J., 2009, accessed 7 April 2014, < http://www. designboom.com/art/the-morning-line-by-matthew-ritchie-with-arandalasch-and-arup/> image source: designboom.com <http://www.designboom.com/art/themorning-line-by-matthew-ritchie-with-aranda-lasch-and-arup/>
Movement of the users is registered via the interactive system allows the production of scalable forms of music depending on the presence of users. Hence, the installation, in a way, creates unique musical experience to every visitor. The flexibility of the installation allows the generation of different meanings and uses. In other words, the installation is not only relevant to the present but also designs the future of the site.
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Commissioned by Thyssen-Bornemisza Art Contemporary , The Morning Line, by the collaboration between architect Aranda Lasch and artist Mathew Ritchie and functions as a part of Youniverse exhibition, is a porous â&#x20AC;&#x153;anti-pavilionâ&#x20AC;? which is fabricated from laser-cut aluminium and painted in aggregated epoxy paint. The eight metres high, twenty metres long and consists of two hundred and six pieces. The pieces are derived from the truncated tetrahedrons. The pieces are categorised into four category which differs in term of size, the largest being 4.9m high.
image source: designboom.com <http://www.designboom.com/art/themorning-line-by-matthew-ritchie-with-aranda-lasch-and-arup/>
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Exploration of Grasshopper Definition The grasshopper definition of morning line is looked into as the primary precedent of our Case Study 1.0. The possibilities of interesting results are tested through the change in different parameter of the grasshopper definition. Understanding the grasshopper definition allow us to better control our expectations and outcome. Studying the interesting result, despite we are able to understand the definition in greater detail, we hope we are able to gain inspiration from the interesting results for our future design.
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Species /01
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increasing the number of sides /04
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jittering bezier spans
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increasing the number of sides /01
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scaling tetrahedrons
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01
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Influenced by the iteration we managed to produced, we were highly influenced by the idea of free movement and emulating the flow of the wind. Iteration 01 produces a curvilinear form which represents the idea of an unrestricted flow of lines which can be continued to redeveloped to create more interesting iteration that better suit our requirements. Architecturally speaking, we can apply this form into steel frame which resent the stylistic approach of the Art Nouveau.
Iteration 02 suggest a more crystalline approach which derived from the idea of allotropes of carbon which bonds carbon atoms together to form complex geometry and different compounds. However, the curve it produced still gives the idea of unrestricted movement and also reflect the idea of earth physics.
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.summary
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The highly symmetry iteration 03 is also favoured as it gives the idea of the pyramid. In a plan view, it also reminds us of the patterning technique produced through tiles which was interesting to look into.
Iteration 04 shows fragmented pieces floating around a boundary that forms a prism. The idea of light reflection and direction of light through the openings in between immediately came to mind. We wondered what outcome we can get if light was projected upon it or produced from it.
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B.3 CASE STUDY 2.0
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As Loos suggest in his manifesto of “Ornament and crime’, ornamentation has become a useless tool and unnecessary thing as it has lost its function as a social representation. In the traditional society, ornament were used as means of differentiation of hierarchy order and a mean to signify cultural influence. However, the modern society disapprove the societal hierarchal order . Therefore, ornamentation has loss its meaning In the modern society, instead of using ornaments as a purely representational means, ornaments should include a modern purpose as well. These modern purpose includes ornaments should display the exploration of materiality qualities and instead of a static representation of culture. The material should incorporate new technology which respond not only to the site and the users. Using unique material qualities, we can derive a function for ornaments.
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Ornament should also incorporate interacting elements. In other words, ornament should emphasise its interaction with the surrounding. Using the surrounding as an advantage to provide and enhance not only the aesthetic but also in term of energy, quality of environment and so on. As stated in ‘Realising the Architectural Intent: Computation at Herzog & De Meuron”, The development of computational tool evolves from the architectural idea and the performance is primary for the development of form Computational tools give ornament the ability to comprehend with its surrounding given the appropriate and sufficient data. Last but not least, ornament should also give an impact to the visitors holistically. Through the appropriate use of material and technological representation, ornament can act as an educational tool to convey important messages.
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ornament.
Using Airspace Tokyo as an example to begin with, the exterior patterning acts as an interstitial membrane to regulate the internal environment using its ability to sunshade and ventilate due to it overlapping patterns.
source: Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14 source: Peters, Brady. (2013) ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61 source: Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24 image source:” ‘Airspace Tokyo | Faulders Studio’, Arch20, accessed 2 April 2014, <http://www.arch2o. com/airspace-tokyo-faulders-studio/> image source: Herzog & de Meuron,Studio (n.d.),De Young Museum image source: Herzog & de Meuron,Studio (n.d.),Messe Basel New Hall
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CATASETUM PROJECT //Music Pavilion
This project showcases a design proposal by Wilck for a music pavilion which will set in Stadtpark in Vienna, Austria. By rethinking the functional role of a music pavilion, the composition of geometry and drafting of material creates an opportunity for a complex and intriguing musical experience. The system further features sound shell which mimic the biological function of the shell geometry, in this scenario, it mimics the function of the human ear which filter the sound waves to please our sensors, as well as a sound booth system of closed capsules for individual auditory enjoyment. The selection materials educates the importance of self sufficient energy and the need of reference to ecological thinking, host interaction and active material.
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The pavilion which features an elaborated creativeness contributes to the sensation of monumentality and surrealism along with its expression of the fluid movement. The expressionism of romanticism provides a new insight to rethink the traditional architectural perception. source: Wilck, P.H., n.d., accessed 18 April 2014, < http://www. suckerpunchdaily.com/2012/01/11/the-catasetum-project-musicpavilion/>
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‘A New Romanticism approaches new areas in design and architecture processes—emerging aestetic paradigms and systematic specifications.’ Philip H. Wilck
image source: sckerpunch daily,<http://www.suckerpunchdaily. com/2012/01/11/the-catasetum-project-musicpavilion/>
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Reverse Engineering - Form Exploration We were interested in this project as it speaks highly of fluidity and movement as seen from its unique undulating pattern that surrounds the idea of the rhythm of melody. As this idea evolves further in terms of form, the resemblance of the biological structure of the ear begins to evoke curiosity. Hence, we aimed to study and recreate the unrestricted form by exploring the properties of rhythm and wave patterns to resemble the idea behind it. Furthermore, the complexity in geometry as seen in the design suggests a combination of different components come together as one to create an interesting final composition. In order to look into this complex geometry, we break it down to explore the form and patterning separately. We begin with the use of vector field and point charges to generate a rhythmic linear form.
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#01 By mimicking the physical properties of rhythmic movement, we introduced the graph mapper with different graph types into our grasshopper definition to control the movement of the line work along the z-axis as well as to study the effect it does upon our initial form work as whole.
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form_exploration
#02
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#01 parabolic graph #02 xy graph #03 sine summation #04 change to xy graph
#04
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further_form _exploration In the previous trial, too many unworkable curves were created. Hence, we selected a number of curves from the initial curves and proceed to create a mesh from them to hopefully reproduce something that replicates our precedent. However, the trial went terribly unsuccessful as any attempt to alter the parameter directly lead to the program to crash.
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An isolated progress is being monitored to reproduce the patterning was found in the precedent. We started off with a surface while populate it with points at random. By using the Voronoi component, a cell like patterning is produced. We then offset the curves inwards to reproduce the hole like elements. Using the cull function, we were able to only populate certain polygons with the offseted curves. The offsetted curves were sharp and not to our liking, and thus we fillet it to produce a smoother curve.
atterning _exploration Part B Criteria Design
However, the precedent shows a range of tunnels of different sizes. Theoretically, we expected the size of the holes could be controlled by a graph mapper. However, as we input this function into the definition, it did not produce any effect. After some exploration, we noticed the offsetted curved were not closed and thus resulting in the failure of continuation. In the last few step, we extruded the surface and trimmed it accordingly to produce a better view of our result.
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definition_exploration
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In order to explore our precedent, we were most satisfied with this definition as it successfully portray the idea of curvilinear composition of the precedent and display our interest in the free movement of wind flow. As displayed in the definition, we start off by creating curves that was derived from the precedent itself. Then, apply a division in the curve to produce different points in the curve while evaluating the curve to produce spin force and point charges. By merging these charges and force, we were able to create a set of curves. However, the curves were in fact in shown in planar form which does not represent our precedent. The curves were then translated to a 3D composition by moving them according to the graph mapper which allows us to control the movement of the individual curves in the z-axis. In the last section, we explored the possibility of creating a mesh by joining the curves together. However, it did not translate well which was rather disappointing.
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In summary... The selection of a heavily compositional precedent, i.e. the Catasetum Project resulted in the difficult comprehension of the reverse engineering experiment and the failure of completely reproduce the exact form of the mentioned project. However, the benefit we get from the selection outweigh the disappointment as we were able to analyse the project in depth and reproduce the generative process as well as managed to create our own grasshopper definition that study the principal behind the project. In the end, we returned to the original trial, being the most appealing and successful to us as it display the study of topology and flexible movement along the sites and it acts as a starting point for us to look into the qualities of the result to influence our future possible design idea.
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B.4 TECHNICAL DEVELOPMENT
Studio AIR 2014/SM1 Land Art Generator Initiative
general form development
Using the result of the 2D linear formation from our precedent which we covered in Case Study 2.0, we start our technical development by further exploring other possiblities to achieve a 3D form that we could possibly work with. The figures to the right display our attempt in creating an image sampler through the general attributes of the formwork we produced earlier to produce a form which portray these elements. However, the form produced did not meet our satisfaction as they did not translate appropriately in 3D. Hence, we did not pursue further in this methodology.
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BODY TEXT
/01 At the mean time, we also further explored other possibilities of the vector field line work and develop an array of 2D lineworks that we may like. Unfortunately, they did not translate well into 3D. /01 Changing spin force strength
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/02 /02 Changing radius parameter of circles
BODY TEXT
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/03 /03 Creating a mesh by moving curves along a graph mapper to create a 3D surface and altering smoothness of the mesh
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The end points and start points are evaluated and listed so the selection of points can take place to create an array of mesh.
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A few points are selected at random from the list of end points to be interpolated. The points are interchangeable through the number slider. Hence, change in the number slider will result in the drastic change in the form work.
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The interpolated points forms a mesh which enables us to develop further as we were struggling to create a valid mesh from the interesting line work we produced in the earlier part of the assignment.
The mesh is exploded to obtain the points which surrounds the edge of the mesh to be used in the iteration which we explore further.
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Edge points are then used as anchor point to hold the form down as unary force is exerted upon it. Interesting formwork starts to develop through this step. We were interested in the idea of this particular Kangaroo physic definition as it best reflect our idea of the natural physic of the wind movement.
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Including weaverbird smoothen definition, it allows the creation ease us in the production of m
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ning function into the n of a smoother mesh and more interesting formwork.
Weaverbird frame is explored to give us an inspiration for our later patterning stage. The idea that we were able to create patterning onto our form work was a huge step in pushing us further to explore the huge variety of patterning in the later stage.
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species /01 d=12.87
d=25.87
species /02 d=12.87
d=25.87
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species /03
We were particularly pleased with the successful generation of the matrix as it had been an issue for us from the beginning. The mesh created by each iteration display unique qualities and the parameter enabled us to experiment with the production of different form and to select the ones with best philosophy of our intention which lies in exploring wind power and its movement across the site. Hence, we were keen in generating result which match the goal we have set. However, most of our result appeared to jagged and sharp which was not very pleasing to use. The definition we have produced also allow use to produce wind passage throughout the structure but we were interested in searching for more alternative. Therefore, we began explored different panelling surfaces which might result in a much reflective design
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pattern development Annotation
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Annotation
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+ structural frame
cladding system
SUMMARY After thorough discussion with each of us in our team, we were equally happy with the many qualities of our iteration. Therefore, we proposed to formulate a solution to include a structural frame and cladding system which will compliment each other in term of functionality and qualities. The structural frame features hexagonal patterning which allows the structure to be held up and incorporate our energy producing elements while the cladding system reflects our idea of wind movement and allows the direction of wind flow into the structure to increase the efficiency while provide education through its intriguing form.
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B.5 PROTOTYPE
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STRUCTURAL system
/01 shows our exploration of the selection of timber as the framing structure. Here, we used balsa wood to represent the possibilities of timber framing. Despite the less malleable quality of timber, connection between framing elements can be connected easily through joints as compared to steel framing. Nonetheless, its carbon neutral quality will well display Copenhagenâ&#x20AC;&#x2122;s reputation as a forward green thinking city.
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/02 The exploration of plastic as a viable construction material is looked into. Using plastic swabs as the framing element to represent plastic, the lightweight and malleable quality as well as its tensile and compressive strength reflects our interest in natural physics. The connection ensures robustness and allow the structure to stand by itself. The recyclable property of plastic is also a great point to consider to answer LAGI brief. /03 Here, we conducted the experiment of steel framing using florist steel by bending and forming into triangular frame system. Due to its tensile and compressive strength, the frame itself was robust and strong. However, the connection between the wire piece was comapratively hard to figure.
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CLADDING SYSTEM
/04 Here, we continue into exploring the cladding systems. In figure 04, we used reflective cardboard to represent a thermo bimetal material which is an alloy which mimic the biological physics. The material will deflect as it is contacted with a stimulus This would allow the cladding to function as a ventilation device and sun shading system to ensure a human environment and probably increase the efficiency of our energy producing agent.
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/05 We then explore polypropelene plastic sheet as another form of cladding which is connected with delicate joint to allows swaying and flapping responding to wind movement. We proposed to attach piezoelectric material that allow the panels to exploit the movement of wind and its swaying and flapping qualities to collect a considerable amount of energy from it.
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B.6 TECHNIQUE : PROPOSAL
Studio AIR 2014/SM1 Land Art Generator Initiative
TECHNIQUE PROPOSAL Our proposal is a sculptural structure which is heavily inspired by biomimic principal of becoming a living and breathing organism in itself. The skeleton features a system which is derived from the natural laws of physics acting upon an object while its external skin provides a protective layer that regulates the temperature within through its ability in sunshading and ventilation. Despite having the prominent siting of Refshaleøen which sits in opposition to the Little Mermaid landmark of Denmark, we believe that the irregularity of our design and the inclusion of innovative technology will attract visitors as well as invoke curiosity and inspire users to a more sustainable architecture design while promoting Copenhagen as a forward thinking â&#x20AC;&#x153;Green Cityâ&#x20AC;?.
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B.7 LEARNING OBJECTIVES & OUTCOME
Studio AIR 2014/SM1 Land Art Generator Initiative
Learning Outcome It has been a very long way to get to our proposal as we encountered many challenges along the way and countless exploration may sometime leads to no progress. However, we cannot say that we did not benefit from the process. With the aid of research and exploration, we manage to get hold of a lot of its principle and definitions and these explorations motivated us to move further into the next stage. In Case Study 1.0, we develop an understanding to the limitation and endless potential of Grasshopper definition. The understanding of Grasshopper definition also further ease in the exploration for more method to our ideas. Choosing Morning Line as a precedent influenced our interest in the intention of creating something with similar property- the flexibility of movement.
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Most of our challenges started in Case Study 2.0 as we did not expect the precedent we were studying was mammoth-like. Here, we apply our knowledge of grasshopper definition into this stage to recreate our precedent which is the Catasetum Project. We struggled with the reverse engineering section as we only managed to create the line work mimicking its composition and we do not have a mesh to develop with. However, the linework provide us a starting point which leads us further into the next stage.
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In the futher technique development stage, we used Kangaroo physics to explore its potential outcome. The reason behind it was this particular function well reflected our interest in wind flow movement and display the property of flexibility and movement in term of process. It also influenced our design to push even further The setback from previous trial did not stop us but inspire us to look back into our study to search for ways to implement principle into our design.
We have decided to look into wind energy into greater depth and make it our driving force to create an interestin design for the LAGI brief.
Our proposal for the interim presentation includes a cladding and framing system which compliment each other through function and efficiency and promotes the city urbanscape as well green thinking.
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B.8 APPENDIX ALGORITHMIC SKETCHES
Studio AIR 2014/SM1 Land Art Generator Initiative
highlight of the process...
These are the highlights of the entire process of coming up to the current stage and the entire learning process of part B. The first figure features the product we got from the matrix production stage and was very satisfied with the result it produce and it also influence us in getting the idea of separating the process into the cladding and structural systems. The next image includes the iteration produced from the understanding of the Morning Lineâ&#x20AC;&#x2DC;s definition by rearranging and reconfigure the function from the definition and by adding some changes to the number slider.
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The above image features the exploration of graph controller. By making changes to the graph, we can expect different outcomes and patternings. Through different iterative process, we were a step closer to recreating our precedent.
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The next figure shows the movement of points in regards of the distance from the hub. In other words, the further the points are from the hubs, the higher it gets. Using this, we were able to gain interesting information and inspiration from it.
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PART B bibliography B.1 Research Field source: Biomimicry Institue,(n.d.), What is Biomimicry?, accessed 3 April 2014, < http://www.biomimicryinstitute.org/about-us/ what-is-biomimicry.html> Faulders, T. (2007), Airspace Tokyo, accessed 3 April 2014, < 2. http://faulders-studio.com/AIRSPACE-TOKYO> Image Source: Faulders Studio (2013) ‘Airspace Tokyo | Faulders Studio’, Arch20, accessed 2 April 2014, <http://www.arch2o. com/airspace-tokyo-faulders-studio/> Thomas Faulders Architecture, Studio M <http://faulders-studio.com/AIRSPACE-TOKYO> Velcro (n.d.) <http://www.designboom.com/technology/metallic-velcro-steel-hook-and-loop-fastener/> B.2 Case Study 1.0 Choi, L.J., 2009, Morning Line, accessed 7 April 2014, < http://www.designboom.com/art/the-morning-line-by-matthewritchie-with-aranda-lasch-and-arup/> Thyssen- Bornemisza Art Conteporary, 2013, Morning Line| Aranda Lasch, accessed 7 April 2014, < http://www.tba21. org/pavilions/49/page_2?category=pavilions> images source: designboom.com <http://www.designboom.com/art/the-morning-line-by-matthew-ritchie-with-aranda-lasch-and-arup/> B.3 Case Study 2.0 Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24 Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14 Peters, Brady. (2013) ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61 Wilck, P.H.(n.d), Catasetum Project| Music Pavilion, accessed 18 April 2014, < http://www.suckerpunchdaily. com/2012/01/11/the-catasetum-project-musicpavilion/> images source: Faulders Studio, ‘‘Airspace Tokyo | Faulders Studio’, Arch20, accessed 2 April 2014, <http://www.arch2o. com/airspace-tokyo-faulders-studio/> Herzog & de Meuron,Studio (n.d.),De Young Museum Herzog & de Meuron,Studio (n.d.),Messe Basel New Hall
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