Ong_Diana_701832_FinalJournal by Diana O.

air j o u r n a l diana.ong 7 0 1 8 3 2 m a t t h e w mcdonnell

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i n t ro d u c t i o n

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p a r t a | c o n c e p t u a l i s a t i o n

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p a r t b | c r i t e r i a d e s i g n

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p a r t c | d e t a i l e d d e s i g n

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HELLO. My nameâ&#x20AC;&#x2122;s Diana, currently in my final year of my architecture undergraduate degree in the University of Melbourne. Born and raised on the Borneo Island in Malaysia, architecture as I knew it, has mostly been about praticality, culture and the surrounding landscape. It is viewed as an art form, passed on to us by ancestors and indigenous tribes, which should be propagated and maintained as a form of identity and heritage. Nonetheless, over the past two years in Melbourne, I came to realise that architecture is not something defined by the boundary of walls, nor something stagnant or chained to history and past works. It is a myriad of tangible and intangible ideas, aimed to solve problems pertaining to the human needs and experience with the surrounding environment. Currently, my interests lie in visualising architecture as a medium of creating better environments in accordance to societal needs and changes.

In this technological era, there is an apparent shift in architecture where design is no longer limited to the capacity of the human brain, but extends to infinite solutions and possibilities with the aid of digital design. I was first exposed to the whole new dimension in architecture - digital design, in a second year subject Digital Design and Fabrication. We were taught to use Rhino3D as means of designing a sleeping pod. My group’s sleeping pod was focused on the idea of folding, and we used Rhino3D and the Panelling Tools plug-in to help manipulate the patterns and shape of the folds. The process of modelling different prototypes starts off with the basic pattern/module that we would then panel onto grids. I came to realise that although folding is a craft-based practice, in the context of our time, digital tools are helping to translate traditionally productorientated practice into architecturally scaled projects. Precedents referred to include the Klein Bottle house by McBride Charles Ryan and the Huyghe + Le Corbusier Puppet Theatre. Both buildings were built with the aid of digital software to come up

with design and fabrication techniques. For instance, similar to the Klein Bottle house, we used the “downstream approach” to translate 3D volumes into developable 2D surfaces for easier fabrication of the final pod by coming up with a template that forms the basic rule-set which underlies our design. In the end, we fabricated our sleeping pod by hand due to material and time constraints. Although we did not fabricate the pod digitally, the form finding process using Rhino was indeed a new designing process as I got to experiment with form optimization and analysis through digital means. I was also introduced to new terminology used in digital design such as “developable surfaces” and “NURBS”. The outcome was definitely not something which I could visualize nor draw out by hand. Thus, I am really excited to venture in a new branch of digital design - visual scripting, through the extensive use of Grasshopper in this studio.

Images (top & right): Zzz everywhere sleeping pod. Diana Ong, Digital Design & Fabrication, 2016, University of Melbourne; (far right): template for folding pattern, Diana Ong, Digital Design & Fabrication, 2016, University of Melbourne;

A CONCEPTUALISATION

A . 1 | d e s i g n f u t u r i n g

08-13

A . 2 | d e s i g n c o m p u t a t i o n

14-19

A . 3 | c o m p o s i t i o n / g e n e r a t i o n

20-25

A . 4 | c o n c l u s i o n

A . 5 | l e a r n i n g o u t c o m e s

b i b l i o g r a p hy & re f e re n c e s

A . 6 | a p p e n d i x

28-30 31-33

a.1 d e s i g n futuring “designers should become the facilitators of flow, rather than the originators of maintainable ‘things’ such as discrete products or images” John Wood ,20071

Figure 1: Plug-in-city by Peter Cook, Archigram, in 1964. John Wood. Design for micro-utopias: making the unthinkable possible. (Gower,2007).

design in the current context

Design can be defined as the human ability

to “prefigure what we create before the act of creation”.1 Similarly, architecture has always been a forward looking practice, in which architectural designs are aimed towards solving problems and creating a better tomorrow. Nonetheless, “tomorrow” - our future, is no longer determinate due to humans' anthropocentric habitation of finite resources on Earth. The root of an unsustainable defuturing is still the selfish human mindset, our materialistic behaviours and values.2 Thus, sustainable future can only be attained if there is a change in human idealogies and values. Design ethics, design intelligence and critical thinking are crucial elements in the process of redirective design practice. In this case, pluralism in design should also extend across to human ideologies and values. 3 In this technological era, design is becoming a process which defines a system's rules rather than the outcomes.4 According to Schumacher, architecture can be seen as a combination of communications which can generate new ideas and concepts within social systems in society.5 He following two case studies indicates design as a critique and catalyst for change. Although the projects were set two decades apart, their contribution to the architectural discourse is immeasureable in terms of design thinking and the design process, moving us towards a more sustainable future. 1 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p.2. 2 Anthony Dunne and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013), p.2. 3 Anthony Dunne and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013), p.9. 4 John Thackara, In the Bubble: Designing in a Complex World (Cambridge, MA: MIT Press, 2005), p.224. 5 Patrik Schumacher, The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley,2011), p.3.

PLUG-IN CITY PETER COOK, 1964

Figure 2: Plug-in city envisioned by Peter Cook.

Archigram was a group of six, formed in 1961, who rejected the conventional architectural practices in Britain and redefined the meaning and purpose of architecture. Through the use of comics, cartoons, collages and radical literature, they proposed hypothetical architectural projects which provoked thought and contributed to the architectural discourse. 1 The Plug-in City scheme (Fig.1) envisioned by Peter Cook, became one of the most iconic architectural proposals in the 1960s. Systems, dynamism and circulation were main concepts underlying the "city-in-flux".2 Interchangeable apartment units, vertical silos and cranes were connected by lines of transportation, highlighting the predominence of megastructures, modularity and infrasturcture in maintaining clarity in modern cities (Fig.1). Together, these elements encapsulated ideas of collectivity, adaptivity and connectivity. Following the economic boom in Europe in the 1960s, cities like London was congested with office blocks and helicoidal towers.3 Cook's vision was thus radical as it critiqued the architectural norm for ignoring social and environmental issues such as population growth, land use and traffic, and attempted to reinstate pluralism and dynamism in architecture as solutions to adapt to the modern currents of change. With its focus on the "systems approach", the scheme attempted to tackle social issues to alleviate unsustainable issues in modern cities.4 This approach introduced the modern need for rules and systems to govern new technologies which enabled cities to function and flow. Subsequently, Cook's scheme led to

the development of "metabolism" movement and megastructures in Japan in the 1970s. The Plug-in city depicted the harmony that could be achieved between the technological advancements in our society and the everyday life. It was advocated as an event that involves active participation of inhabitants in order to be fully realised. 5 Thus, this scheme revealed the power of design which could enhance human experience amidst the chaos of rapid change in cities.6 Although this was an unbuilt project, Cook's critical perspective clearly shows that speculative design could initiate new modes of thinking as well as change underlying human values - both equally important aspects in designing a sustainable future. It certainly liberated the 1960s architectural thought from traditional desired fixed architectural ideals, to new concepts revolving around technological advancements as well as the harmonic relationship between humankind with these changes.

1 Simon Sadler, 2005. Archigram: architecture without architecture. (Cambridge, MA: MIT Press, 2005), p.5 2 Simon Sadler, 2005. Archigram: architecture without architecture. (Cambridge, MA: MIT Press, 2005), p.16. 3 Ibid., p.14. 4 Ibid., p.20. 5 Ibid., p.16. 6 Ibid., p.16.

Guggenheim Museum Bilbao frank gehry,1997

Figure 3: Guggenheim Museum's smooth and dynamic titanium facade created with the CATIA software.

Gehry's Guggenheim Museum in Bilbao is the epitome of the union between digital design and traditional architectural techniques, with the "Bilbao Effect" creating new ways of thinking about design not only in the architectural realm, but among the general public. In terms of building design most unique feature of this building would be the unprecedented "symphony of forms", created by the bending, folding, jumping, curving polished titanium cladding gives a dynamic yet playful character to the building (Fig.3). 1 Gehry's incorporation of dynamism, unusual materials and emotions were ideas which enabled the museum to stand apart from buildings of its time. Nonethelss, non of his ideas could be realised without the help of CATIA, a mechanical design system developed by Dassault System, a French aircraft manufacturer.2 Although Gehry builds large physical models to visualise his designs, he continues the process through digital means by inserting them into CATIA for analysis. Due to its complex geometry, this process is crucial to produce technical data and working drawings which leads to the final product.3 Thus, the Guggenheim Museum is the introducing the importance of computation in translating architectural visions into the built form into the architectural discourse. The museum further exhibits its unique qualities in terms of its relation to the urban ans social context. Located in the in the extension of Bilbao designed by Alzola, Achúcarro and Hoffmeyer Architects in 1876, the entrance to the museum is framed

by historcal buildings on Calle de Iparraguirre, which many believe is the main reason for its success especially in the tourism industry. 4The juxtaposition between the old and the new as well as the relationship between the building and urban infrastructure further emphasises the importance of architecture in its context and the use of resource and materials to create buildings which also constitutes artistic and economic value to the local community. The building had become an icon and a "symbol of regeneration" of Spain. 5 Its influence is apparent with the subseqeunt "Bilbao Effect", where buildings are seen as an expression and an act of "exhibitionism", overlooking the urban architectural norm demanding functionality and efficiency with high technology and Kahn's "servant-served" theory.6 This masterpiece continued to inspire and influence many new designers to explore new design processes, while encouraged the public to look at design with a more appreciative eye.

1 David Goldblatt, "Lightness and fluidity: remarks concerning the aesthetics of elegance." Architectural Design 77.1 (2007), p.16. 2 Steele, Architecture and computers: action and reaction in the digital design revolution. (New York: Watson-Guptill Publications), p.125. 3 Ibid, p. 129. 4 David Goldblatt, "Lightness and fluidity: remarks concerning the aesthetics of elegance." Architectural Design 77.1 (2007), p.82-85. 5 Joan Ockman, "New politics of the spectacle:‘Bilbao’and the global imagination." Architecture and tourism (2004), p.227. 6 Ibid, p.227.

a.2 d e s i g n computation â&#x20AC;&#x153;when [architects] no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.â&#x20AC;? - Schumacher, 2011

Figure 4:The roof of Centre Pompidou Metz redefining possibilities for timber construction. Schumacher, Patrik. 2011.The Autopoiesis of Architecture: A New Framework for Architecture (Chichester:Wiley), 15

the age of digital architecture The process of design have indeed evolved since

the ancient times. In fact, the architectural profession was only recognized in the 1450s when Italian noblemen like Leon Battista Alberti introduced new design methods using scaled drawings and models, creating a new communicative relationship between the architect and the builder, bridged by the aid of technical plans, elevations and sections.1 Nevertheless, in the 21st century, a whole new dialogue is formed in the architecture profession with the inclusion of computation in design. Computation is distinct from computerisation in the sense that it involves the generation of design ideas through the processing and analysis of information, a process where "formation preceeds form".2 Through the use of algorithms, design solutions for highly complex problems and endless iterations according to a different design environments can be made, augmenting the architect's design capacity while expanding the scope of speculating design potentials.3 Digital tools further allow for sustainable design and higher "generative variability" to increase building performance through energy and structural analysis, ensuring the optimal use of resources and energy in the construction and maintanence of the final design.4

Simultaneously, the inclusion of computation in design changes the workflow structure of architects where new ties of collaboration are needed between professions, creating a more integrated team in designing future environments. Digital fabrication further transformed the process of construction where "component design" where complex geometries can be built in shorter timeframes with the digital management of digitally manufactured components. 5 Nonetheless, with the rise of computational materialisation and fabriation, people began to doubt the use of technology as means of stifling design creativity. For instance, critics such as Framption argue that the digital design overlooks the techtonics and tactility in turn for "aesthetic display".6 Although digital materiality and performance analysis of digital architecture partly address Frampton's concern, I would agree with Peters that computation should be not an "isolated craft" but rather an "integrated art form" to preserve original visions and design objectives.7 Only with a well-balanced symbiotic man-machine relationship, we can achieve the "Vitruvian effect" where there is a continuum of design to production. 8 The following precedents in this chapter show the use of digital technology from the generative to the construction of the final product. The first case study by Shigeru Ban shows the use of computation qualitatively in form finding and design generation, whereas the second case study by Marble Fairbanks depicts the use of computation quantitatively to allow architecture to respond directly to performance criteria.

1 Yehuda E Kalay, Architecture's New Media, 1st edn (Cambridge, Mass.: MIT Press, 2004), p.6. 2 Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture, 1st edn (London: Routledge, 2014), p.3. 3 Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture, 1st edn (London: Routledge, 2014), p.4. 4 Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture, 1st edn (London: Routledge, 2014), p.4. 5 Brady Peters, "Computation Works: The Building Of Algorithmic Thought", Architectural Design, 83.2 (2013), p.104. 6 Kenneth Frampton, "Technoscience And Environmental Culture: A Provisional Critique", Journal Of Architectural Education, 54.3 (2001), p.131. 7 Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture, 1st edn (London: Routledge, 2014), p.4. 8 Ibid, p.2.

Centre Pompidou, Metz shigeru ban, 2006

Figure 5 (top): The grid shell structure of the roof, combined with irregular geometry and its scale, illuminated at night. Figure 6 (top right):The use of computation to generate NURBS surfaces and to create analytical models.

The Centre Pompidou in Metz, France demonstrates Shigeru Ban's integrated use of computational design from its material design to the fabrication process (Fig. 5). Inspired by a Chinese bamboo hat, the free-flowing roof of the building encapsulates the power of computation where grids are no longer limited to rectilinear forms. In this case, the construction of the roof was a result of a single grid shell where timber structures was arranged on a hexagonal pattern according to a reciprocal grid.1 Nonetheless, Ban's vision would could not have been realised without a structural analysis software GSA by Arup, which was used as a form-finding tool by referencing the geometry for cable-net structures.2 The fabrication geometry was then rebuilt onto a NURBS surface for means of construction (Fig.6). 3 In comparison to one of the world's first timber gridshell - the Mannheim Multihalle by Frei Otto in 1975, which was preconceived with the "hanging chain" method with suspending threads loaded with nails, Ban's digital form finding method is far more efficient in terms of saving time and energy, whilst being able to analyse the model in terms of its connections and structural capacity.4

"master builder" by designing with materials at the forefront, only this time through digital means. Common timber elements, stiff in nature, were able to be woven together according to their pinwheel connections to create double curvations. 5 (Fig.4) This projects that in the near future, computation can create "bespoke architectural fabric" or new composite materials which can be manipulated by architects to suit the brief or environment.6 In terms of fabrication, CNC (Computer Numerical Control) machines were used to cut six layers of double-curved girders of the gridshell.7 This shows that the constructibility of architectural designs are no longer constrained within skillsets of builders, but a direct result of computation. 8 As long as it is computationally possible, it could be processed with machinery through subtractive, additive and formative methods, thus opening a myraid of new possibilities that could be constructed. The "weaving" network was achieved through "mutual stiffening" to articulate the freeflowing geometry.9 Thus, with computation, "craft" extends from objects to architecturally scaled projects, creating new possibilities and solutions in the architectural realm.10

Moreover, Ban renewed the architect's role as a 1 Tristan Simmonds, Martin Self and Daniel Bosia, "Woven Surface And Form", Architectural Design, 76.6 (2006), p.88, <https:// doi.org/10.1002/ad.366>. 2 Ibid, p.88. 3 Ibid, p.88. 4 Happold, E., Liddell, W. I., (1976), Timber lattice roof for the Mannheim Bundesgartenschau, The Structural Engineer, No 7, Volume 54 (July 1976), <http://shells.princeton.edu/Mann1.html>. 5 ristan Simmonds, Martin Self and Daniel Bosia, "Woven Surface And Form", Architectural Design, 76.6 (2006), p.88, <https://doi. org/10.1002/ad.366>. 6 Ibid, p.89. 7 Lisa Iwamoto, Digital Fabrications, 1st edn (New York, NY: Princeton Architectural Press, 2013), p.73. 8 Branko Kolarevic, Architecture In The Digital Age, 1st edn (New York: Taylor & Francis, 2003), p.33. 9 Tristan Simmonds, Martin Self and Daniel Bosia, "Woven Surface And Form", Architectural Design, 76.6 (2006), p.88. 10 Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture, 1st edn (London: Routledge, 2014), p.5.

Toni Stabile Student Center marble fairbanks, 2008

Figure 7 (top): The interior of the Student centre equipped with performative surfaces such as the ceiling and walls, which focused on the acoustic, graphical and environmental. Figure 8 (Left): Acoustic analysis of the student hub to produce optimum patternation of ceiling perforations.

The Toni Stabile Student Centre at the Colombia University Graduate School of Journalism is an example of a performance-driven design achieved through environmental analysis tools, digital models and algorithmic scripts. In this project, design is viewed as a network of information which can be analysed, alterated and optimised by digital softwares according to the program and context. Three main performative surfaces were developed through digital means, with qualities being the acoustic, graphical and environmental (Fig.7).1 The renovation for the student hub was not monopolised by a single, large architectural office, but instead it was a collaboration of small firms with different expertise, all with a goal to optimise the work space through digital means. 2 Hence, it is apparent that computation allows a shift in architectural practice where small scaled firms are able to compete with large firms with a strong knowledge in digital design. There was an apparent shift in design process of the student centre due to the inclusion digital stimulation and analysis. For instance, while designing the ceiling, an acoustic model of the hub was first developed to identify "zones of intensity" where larger perforations are needed for reducing acoustic reverberation.3 Subsequently, the pattern script of perforations then generated a series of iterations according to the performance criteria. Firstly, the analytical process enabled by computational design is crucial as it gave the architects a deeper understanding the existing context, identifying various constraints and

opportunities that could not be seen with the naked eye. This fulfills the "puzzle making" criteria, which according to Kalay, defines the goals of each design brief.4 The production of iterations from the existing acoutic model further shows that new form-finding techniques can be directly derived from problems in the environment through digital tools. Moreover, instead of arranging lighting and sprinkler layouts according to the surface area of the ceiling, these mechanical elements were positioned according to result of subsequent scripting from an acoustic model.5 Iterations were then analysed and selected according to fabrication time and cost. 6 Solar analysis and scripting were also used for designing the sun shading to reduce heat loads, minimising the demand for airconditioning in the building.7 This resulted in the patterning on the sunscreen which emulated effect of the canopy of trees. Thus, with proper management of digital information, quantitative and qualitative aspects of architecture can be optimised with adaptive responsiveness to the surroundings. With the existence of this performative design, it is possible to create a "second nature", which according to Oxman is a "sounder architecture with respect to material ecology".8 Although this was a small scaled project, it depicts the inclusion of technical and performancebased logic into the realm of digital architecture, which perhaps would become the forefront in the architecture discourse in the near future.

1 Scott Marble. "Designing Design, Designing Assembly, Designing Industry." Proceedings from ACADIA 10 (2010), p.412. 2 Ibid, p.288. 3 Scott Marble and Karen Fairbanks, "Toni Stabile Student Center, Columbia University Graduate School Of Journalism - Marble Fairbanks", Architectural Design, 79.2 (2009), 107. 4 Yehuda E Kalay, Architecture's New Media, 1st edn (Cambridge, Mass.: MIT Press, 2004), p.25. 5 Scott Marble and Karen Fairbanks, "Toni Stabile Student Center, Columbia University Graduate School Of Journalism - Marble Fairbanks", Architectural Design, 79.2 (2009), p.107. 6 Ibid, p.107. 7 Ibid, p.107. 8 â&#x20AC;&#x160;Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture, 1st edn (London: Routledge, 2014), p.6.

a.3 composition /generation “Algorithmic thinking means taking on an intepretative role.......we are moving from an era where architects use software to one where they create software.” Schumacher, 20111

Figure 9: Reconstruction of Gaudi's hanging model for the ColòniaGüell Chapel,Sagrada FamíliaBasilica Museum,Barcelona in the1980s. 1 Schumacher, Patrik. 2011.The Autopoiesis of Architecture: A New Framework for Architecture (Chichester:Wiley), 10.

autopoieticgenerative architecture As computation begins to enter the realm of

architectural practice, there is a prominent shift in the design process from composition to generation. As Brad mentioned in lecture week 3, in the past, rules and systems such as symmetry have always goverened architectural compositions. Nonetheless, with the introduction of scripting and visual programming softwares such as Robert McNeel & Associates’ Grasshopper®, architectural work flows are extending beyond pen and paper, to focus on datasets of information and their interrelationships. By applying a set of "unambiguous, precise list of operations", namely algorithms, through computable functions, generative design is born where machines and software create a myriad of design solutions. 1 The use of generation in design have proven to "augment the human intellect" by creating unprecendented forms and geometry, such as the use of parametric modelling softwares by Zaha Hadid.2 With the aid of scripting softwares, modeled designs are not only mathematically proven to be constructable, but also optimised in terms of structure and performance. In reverse, building performance also emerges as a new parameter in creating building forms. Throughout the designing process, iterations

and refinement of designs are constantly made possible with computational stimulation tools which create more responsive built environments. Moreover, construction processes are enhanced where component design and computationaldriven manufacturing speeds up the construction process. Algorithmic thinking further extended the role of architects beyond design - to designing the tools used for design.3 In other words, scripting and algorithms allow architects to take a step back to critique and rethink how we can design more creatively and efficienctly. However, generation in design also has its limitations and potential downfalls. Currently, digital fabrication is still considered uneconomical due to expensive machines and lack of specialization in operating the machines. Moreover, with the hierarchical and logical implementation of complex data in algorithms, there are multiple levels of abstraction in which valuable data might be lost. Inaccuracies in building modelling and optimization might also occur due to uncertainties in reality.4 Precaution should be exercised while exploring algorithmic concepts so that architects do not "divert from real design objectives".5 Rather, scripting should be integrated with architecture where there is a symbiotic relationship between the man and the "virtual machines"- machines which interpret and processes algorithms. 6 The following precedents show the use of generation in architecture, which has respective favorable and unfavorable outcomes. Gaudi's project introduced conceptual changes in the designing process due to generative thinking, while Menges's project depicts the use of generation aided by softwares in the process from design to fabrication.

1 Robert A. and Frank C. Keil, eds, Definition of ‘Algorithm’ in Wilson, (London: MIT Press, 1999), p. 11. 2 Brady Peters, "Computation Works: The Building Of Algorithmic Thought", Architectural Design, 83 (2013), pp.8-15. 3 Ibid, p.11 4 Igor L. Markov, "Limits On Fundamental Limits To Computation", Nature, 512.7513 (2014), p.152. 5 Brady Peters, "Computation Works: The Building Of Algorithmic Thought", Architectural Design, 83 (2013), p.15. 6 Robert A. and Frank C. Keil, eds, Definition of ‘Algorithm’ in Wilson, (London: MIT Press, 1999), p. 12.

la sagrada familia antoni gaudi, 1882-ongoing

Figure 10: The complex geometry and facade of La Sagrada Familia,, still under construction to this day.

The construction of Sagrada Familia commenced in 1882, and is still ongoing after over a hundred years of Gaudi's death in 1926. This is due to the lost of technical documents in a fire, but mostly due to the rich matrix and sheer complexity of the building. Gaudi's designing process shows the emergence of parametric thinking and generative concepts in the architectural discourse, while the process of building the church closest to Gaudi's initial concepts further depicts the importance of scripting tools and skills in architectural practice today. In terms of Gaudi's design, parametric principles are evident in Gaudi's hanging model for the Colonia Guell chapel as well as 1/25 scale plaster models of the Sagrada Familia. They both exhibit the idea of "flexibility" coupled with a physical determinant (in this case, gravity) which are both connotations related to parametric design, where models can transform according to the manipulation of a set of finite determinants. In Gaudi's models, there are nine separate parameters for each hyperboloid of revolution, which can impact its relationship to their neighbour. 1By tweaking the paramateric possibilities, there are almost an "infinite" range of outcomes to the architect.2 As a result, parametric softwares were first used in 1991 to evaluate the architectural features of the building. This shows Gaudi's parametric thinking as a generative approach to architecture to create new forms and possibilities. Nevertheless, due to technological constaints at that time, testing and modelling out these different outcomes would be inefficient due to the large consumption of' time and energy. In this case, scripting technology today is exteremly important to model alternative outcomes for "side-by-side" comparisons.3 For instance, in recreating the clerestorey rose windows, the most important element in the nave of the church, Burry's team utilised the "Xhyper" - a general algorithm optimiser to capture the best fit to Gaudi's physical

model.4 Thus, the process of extracting information from Gaudi's physical model and consquently construct from these information also highlights the the importance of parametric modelling and scripting in communicating the form and constructibility of a design to the design team. An area of doubt regarding generation in architecture would be the risk of architectural practice being displaced by data and information. Nonetheless, with his commitment and deep understanding of the building materials and structure, Gaudi proved that architects have to "embrace" computation by extending parametric variables beyong the scope of the current context. 5 This would involve a deep understanding of the computation as well as the dedication to creating a better future. Although the building gives a sculpted presence due to the undulating and freeform facade, Burry, the current Senior Architect to the chapel, states that Gaudi was "sculpting" the building geometrically rather than "physically".6 He designed by manipulating geometries of "what is not there", termed as the Boolean operations used in digital modelling softwares today. Thus, it is apparent that Gaudi was thinking in the form of mathematics and data. Hence, there is no doubt that we can achieve similar or even better architectural heights with existing scripting and digital modelling tools present today. In this case, Gaudi's building is an encouragement and push to practicing and aspiring architects towards algorithmic thinking. " This [project] might have been beyond the scope of [Gaudi] given their respective historical, cultural and technical contexts, but [he] signal[s] that it is surely ours to embrace tomorrow if not quite today." - Burry, 2016 5

1 Antoni Gaudí and Mark Burry, Gaudí Unseen, 1st edn (Berlin: Jovis, 2007), p.111. 2 Mark Burry, Scripting Cultures, 1st edn (New York, NY: John Wiley & Sons, 2013), p.148. 3 Ibid, p.148. 4 Ibid, p.143. 5 Mark Burry, "Antoni Gaudí And Frei Otto: Essential Precursors To The Parametricism Manifesto", Architectural Design, 86.2 (2016), p.35. 6 Mark Burry, Scripting Cultures, 1st edn (New York, NY: John Wiley & Sons, 2013), p.145.

ICD/ ITKE research pavilion 2012 stuttgart university, 2012

Figure 11: The freestanding woven glass fibres designed and fabricated by digital computation.

Every year, architect Archim Menges leads a Research Pavilion project at the University of Stuttgart, with the aim to explore the morphogenetic approach to design from form generation to materialization, with a particular focus on material systems as the “active driver of architectural design”. 1The 2012 research pavilion was especially coherent to the use of generation in architecture as the use of computational tools were adopted from the extraction of research data to final assembly of the pavilion. The core idea of the project was biomimetic design where the biological principles of lobsters were investigated to translate them into architectural design. 2 The fibres in the cuticle of lobsters were analysed and principles which contributed to the efficiency of the exoskeleton are extracted from analysis and applied to the pavilion design with the integration of glass fibre as the main material through scripting and modelling softwares. A winding syntax is then generated, creating the basic geometry of the pavilion.3 Thus, although the design concept was based on biology, the whole form finding method was completely rooted in computational generation. This depicts the ability of algorithms to bring architecture closer to nature, with the ability to generate new concepts and ideas from detailed analysis and understanding of our immediate environment. Subsequently, this shows that architectural inspirations for new possibilities and forms are no longer limited to the naked eye, but extends to many details that surround us daily.

speculative designs in the 21st century, enabling architects to obtain performance feedback and reassess design decisions. Detail specifications of the fibre-fibre interaction as well as fibre layout optimization was subsequently developed, resulting in a standalone double-curved skin of fibres which weighed less than 320 kg. 5 This augments Menges’ claim that materials possess “computational capacity” which can “physically compute form”. 6 Thus, new material tectonics and architectural possibilities can be explored and found with the integration of computation in design, proving that material design and technology could be an emergent field in architecture in the near future. 7 The final pavilion was finally fabricated on-site by a robotic arm. The whole design process generated through computation definitely has its advantages, but at the same time there are limitations to the process as well as precautions to be aware of. Although digital fabrication saves time and labour costs, Scheurer argues that the production of individual components for smaller-scaled projects might be expensive while investing in machines itself would require large sums of capital and specialist knowledge.8 Furthermore, early design stages must already optimize the design towards the fabrication method to ensure that the input data can be developed. In terms of design, it is a common assumption that digital models are “infinitely precise” and of high quality.9 In fact, computational operations are subject to small errors which will accumulate in complex operations.

The pavilion was also optimized in terms of structure and performance through stimulation software. Material data regarding the glass fibres were input into digital stimulation tools to test the optimal assembly methods for structural optimization.4 This shows the role of scripting and modelling for 1 2 3 4 5 6 7 8 9

Patrik Schumacher, "Parametricism 2.0: Gearing Up To Impact The Global Built Environment", Architectural Design, 86.2 (2016), p.16. Archim Menges, "ICD/ITKE Research Pavilion 2012", (2012), <http://www.achimmenges.net/?p=5561> [accessed 17 March 2016]. Ibid. Ibid. Ibid. Patrik Schumacher, "Parametricism 2.0: Gearing Up To Impact The Global Built Environment", Architectural Design, 86.2 (2016), p.16. Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture, 1st edn (London: Routledge, 2014), p.5. Fabian Scheurer, "Materialising Complexity", Architectural Design, 80.4 (2010), pp.92-93. Fabian Scheurer and Hanno Stehling, "Lost In Parameter Space?", Architectural Design, 81.4 (2011), p.79.

conclusion The use of digital tools revolutionised architecture by allowing new ideas and possibilities to be explored, documented and constructed through digital means, resulting in unprecedented building forms and functions being constructed in the 21st century. The meaning and role of architecture in society have change drastically since then, with the ability for architect's to form new material types, design performative structures and to speculate desirable futures through algorithmic thinking and parametric modelling. The working and creativite scope of an architect is no longer limited to the analogue and traditional design rules, but extends to the scope of what computation can offer, which is almost an infinite amount of possibilities.

our design capacities. 1With the inclusion of generation in architectural practice, architects have a wider horizons in terms of design creativity and efficiency, but with this comes a responsibility to understand digital structures and algorithms so as to make decisions based off digitally generated alternatives, and not simply “delegating” design choices to machines.2 Thus, parametric models and digital tools have to be set up carefully to ensure the delivery of meaningful outputs.

Computation has not only changed what we built, but also how we build. Structural integrity and building performance become new parameters for the formfinding process through model stimuations. Digital fabrication with robots and machineries saves construction time, energy and cost if used at a large scale. Nonetheless, with the rise of computation, there are a few possible challenges that will require an architect's care and precaution so as to enhance the use of digital tools. First, architects would have to fully grasp algorithmic understanding, but at the same time reassess the quality of the algorithmic systems themselves so they do not limit

1 Fabian Scheurer and Hanno Stehling, "Lost In Parameter Space?", Architectural Design, 81.4 (2011), p.79. 2 ibid, p.79.

afterthought After three weeks of research and study, my perspective towards digital design have changed from a skeptical mindset to a more curious and nuanced understanding of computation. I was exposed to concepts and ideas which are currently prominent in the architectural such as defuturing, computation and generation. I feel that understanding these new concepts is extremely important among practicing and aspiring architects, so as to better identify and strengthen our design objectives. I have widened my knowledge of digital tools and terminology through the study of Grasshopper and algorithms. I came to realise that computation and scripting is actually built on logic and is not as complicated as it seems. Through the study of literature, I realise the significance of computation in design culture which have sparked a large amount of discussion, especially in the architectural discourse. Precedents proved to me that computation have indeed made an impact in the built environment in terms of creating unprecedented forms and optimised structures. A further analysis of their design process show how computation can potentially be integrated in every stage from form-finding analysis to modelling the final outcome, making it clear the prominent role it can potentially be play in architecture of the future. Following this train of thought, there is no doubt that concerns regarding computation "displacing" the role of architects or being the controling factor for design decisions crossed my mind. If design decisions were to follow "optimised" solutions formulated by

algorithms, wouldn't that render architects as "machines" that follow rules or instructions set up by computer, instead of the other way around? Would we be limiting ourselves with the obsession of finding "optimised solutions", that we forget our core design objectives and overlook the acceptance of errors, that might be just deviations of our design intent? Literature that I've studied have pointed out similar concerns, with the conclusion that architects should assess our attitude towards computation, being that we must be firm with design decisions while constantly reassessing the algorithm and digital codes that are set up to design, instead of the final design itself. This depicts the shift in focus from design intuition, to the logic and systems which underpins our design decisions. I have realised that the chosen precedents are successful due to strong design objectives and end goals, resulting in proper integration of computation where needed only. Thus, computation is indeed a test of the architect's design intent. All things aside, I have learnt to assess designs and design decisions with a more critical mindset. Looking back at my DDF sleeping pod, I feel that the form and patterned was designed for the sake of complexity, and lacked a strong design intent. With my current knowledge and changed mindset, I would have improved my DDF sleeping pod by varying its form as well as use of materiality to better suit the brief. Being more equipped with knowledge and skills in Part A, I feel more confident stepping into Part B, excited to develop a strong design objective for the final brief and to explore new design possibilities and concepts that computation has to offer. 27

BIBLIOGRAPHY A., Robert and C. Keil, Frank, eds, Definition of ‘Algorithm’ in Wilson, (London: MIT Press, 1999). Archim Menges, "ICD/ITKE Research Pavilion 2012", (2012), <http://www.achimmenges.net/?p=5561> [accessed 17 March 2016]. Burry, Mark, "Antoni Gaudí And Frei Otto: Essential Precursors To The Parametricism Manifesto", Architectural Design, 86 (2016), 30-35 <https://doi.org/10.1002/ad.2021>. Burry, Mark, Scripting Cultures, 1st edn (New York, NY: John Wiley & Sons, 2013). Dunne, Anthony and Raby, Fiona. Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013), 1-9,33-45. Frampton, Kenneth, "Technoscience And Environmental Culture: A Provisional Critique", Journal Of Architectural Education, 54 (2001), 123-129. Fry, Tony. 2008. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), 1–16. Gaudí, Antoni and Mark Burry, Gaudí Unseen, 1st edn (Berlin: Jovis, 2007). Goldblatt, David, "Lightness and fluidity: remarks concerning the aesthetics of elegance." Architectural Design 77.1 (2007),10-17. Iwamoto, Lisa, Digital Fabrications, 1st edn (New York, NY: Princeton Architectural Press, 2013). Kalay,Yehuda E, Architecture's New Media, 1st edn (Cambridge, Mass.: MIT Press, 2004), 1-25. Marble, Scott. "Designing Design, Designing Assembly, Designing Industry." Proceedings from ACADIA 10 (2010), p.412. Marble, Scott and Karen Fairbanks, "Toni Stabile Student Center, Columbia University Graduate School Of Journalism - Marble Fairbanks", Architectural Design, 79 (2009), 106-109 <https://doi.org/10.1002/ad.863> Markov, Igor L., "Limits On Fundamental Limits To Computation", Nature, 512 (2014), 147-154 <https://doi. org/10.1038/nature13570> Ockman, Joan. "New politics of the spectacle:‘Bilbao’and the global imagination." Architecture and tourism (2004), 227-240. Oxman, Rivka and Robert Oxman, Theories Of The Digital In Architecture, 1st edn (London: Routledge, 28

2014), 1-10. Peters, Brady, "Computation Works: The Building Of Algorithmic Thought", Architectural Design, 83 (2013), 8-15 <https://doi.org/10.1002/ad.1545>. Sadler, Simon. 2005. Archigram: architecture without architecture. (Cambridge, MA: MIT Press). Scheurer, Fabian, "Materialising Complexity", Architectural Design, 80 (2010), 86-93 <https://doi.org/10.1002/ ad.1111>. Scheurer, Fabian and Hanno Stehling, "Lost In Parameter Space?", Architectural Design, 81 (2011), 70-79 <https://doi.org/10.1002/ad.1271>. Schumacher, Patrik, "Parametricism 2.0: Gearing Up To Impact The Global Built Environment", Architectural Design, 86 (2016), 8-17 <https://doi.org/10.1002/ad.2018>. Schumacher, Patrik. 2011. The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), 1-28. Simmonds, Tristan, Martin Self, and Daniel Bosia, "Woven Surface And Form", Architectural Design, 76 (2006), 82-89 <https://doi.org/10.1002/ad.366>. Steele, James. Architecture and computers: action and reaction in the digital design revolution. (New York: Watson-Guptill Publications, 2002). Thackara, John. In the Bubble: Designing in a Complex World (Cambridge, MA: MIT Press, 2005).

IMAGE REFERENCES 1. Sadler, Simon. 2005. Archigram: architecture without architecture. (Cambridge, MA: MIT Press). 2. Simon Sadler. Archigram: architecture without architecture. (Cambridge, MA: MIT Press, 2005), p.5. 3. David Goldblatt, "Lightness and fluidity: remarks concerning the aesthetics of elegance." Architectural Design 77.1 (2007), p.16. 4. Arup, Centre Pompidou Metz (2017) <http://www.arup.com/global_locations/germany/featured/pushing_ the_boundaries_of_timber/timber_gallery4> [acccessed 17 March 2017]. 5. Scheurer, Fabian and Hanno Stehling, "Lost In Parameter Space?", Architectural Design, 81 (2011), 70-79 <https://doi.org/10.1002/ad.1271>. 6. Burry, Mark, "Antoni GaudĂ And Frei Otto: Essential Precursors To The Parametricism Manifesto", Architectural Design, 86 (2016), 30-35 <https://doi.org/10.1002/ad.2021>. 7, 8. Marble, Scott and Karen Fairbanks, "Toni Stabile Student Center, Columbia University Graduate School Of Journalism - Marble Fairbanks", Architectural Design, 79 (2009), 106-109 <https://doi. org/10.1002/ad.863> 9. Marble, Scott and Karen Fairbanks, "Toni Stabile Student Center, Columbia University Graduate School Of Journalism - Marble Fairbanks", Architectural Design, 79 (2009), 106-109 <https://doi.org/10.1002/ ad.863> 10. "Will we live to see the Sagrada Familia?", Documentary Tube (2016) < http://www.documentarytube. com/articles/will-we-live-to-see-antoni-gaudi-s-masterpiece-the-sagrada-familia> [acccessed 17 March 2017]. 11. ICD/ITKE Research Pavilion 2012, Archim Menges (2017) < http://www.achimmenges.net/?p=5561> [acccessed 17 March 2017].

a.6 appendix algorithmic sketches â&#x20AC;&#x153;Algorithmic thinking means taking on an intepretative role.......we are moving from an era where architects use software to one where they create software.â&#x20AC;? Schumacher, 20111

Schumacher, Patrik. 2011.The Autopoiesis of Architecture: A New Framework for Architecture (Chichester:Wiley), 10.

week 1 - 3 WEEK 1 | Vases: I started off Grasshopper with basic transformative and lofting commands. After practicing with attempts to modelling Jon Kleinhample's Trillip vase (Fig.12), I decided to challenge myself to model vases inspired by Australian native plants. I found Plugins such as Lunchbox extremely useful to generate hexagonal features, which I thought ressembled the combination of conical shape and the spikes of the Banksia plant (Fig.13). This shows the use of algorithms to generate new forms in terms of biomimetic design as depicted in the Marble's project (Pg.25). Figure 12:Vase modelled after the Triillip Vase.

Figure 13: Banksia plant. Image source: http:// www.lilykumpe.com/flowers-plants/.

WEEK 2 | Study tables: I explored the contouring and subtractive components in Grasshopper that could be create undulating surfaces. I realised that by offsetting contoured surfaces, I could create a visual dynamic where the form of the object seem to change from different viewing angles. I found this extremely interesting, and how this is no different to Gehry's Bilbao Museum, where different smooth surfaces and curves could create a distinct visual impact from afar (Pg. 12-13). These contoured layers could be easily fabricated digitally due to the presence of informational data.

WEEK 3 | Bookshelves: For this week I explored the use data management in Grasshopper, involving components such as lists, series and domains. These parameters are then manipulated with components such as graph mappers and shift. I found it extremely easy to generate new forms and make iterations by using the graphs and domains, and the generation of outcomes was a very exciting process. Indeed, this process relates to my studies in part A.3 , where the form of designs are completely generated with a certain parameter applied through computable functions. With this accumulated knowledge, I hope I will be able to apply existing parameters of the final project at Abbotsford Convent and generate new forms according to the brief.

b criteria design

B . 1 | re s e a rc h f i e l d

36-37

B . 2 | c a s e s t u d y 1 . 0

38-47

B . 3 | c a s e s t u d y 2 . 0

48-59

B . 4 | t e c h n i q u e d eve l o p m e n t

60-67

B . 5 | t e c h n i q u e : p ro t o t y p e s

68-73

B . 6 | t e c h n i q u e : p ro p o s a l

74-83

B . 7 | l e a r n i n g o b j e c t i ve s & o u t c o m e s

84-85

B . 8 | a p p e n d i x - a l g o r i t h m i c s ke t c h e s

86-91

92-93

b i b l i o g r ap hy & re f e re n c e s

b.1 research field “By narrowing the premises from which the idea of a project arises, the architects increase the power of that idea to the point of letting some projects ride on a single premise” Kurt Foster 1

Fig.1: Hyposurface installation at Boston, USA, May 2007. 1 Kurt W Forster, ‘Pieces for Four and More Hands’, in Philip Ursprung (ed), Natural History (Lars Muller Publishers (Baden), 2005), p 42.

Tesselation “Tessellation is the collection of pieces that fit together without gaps to form a plane or surface.”1 In the context of digital design, tessellation is approximating singly or doubly curved surfaces with polygonal meshes. In the architectural sense, tessellation is a cheaper and less complex alternative to construct large curved surfaces. For instance, Buckminister Fuller’s geodesic domes are earliest examples of tessellation used to approximate a smooth surface (Fig.1).2 His spherical domes were actually made up from triangles and hexagons with identical joints. It is this uniformity which informs both structural integrity and the spherical nature of the overall form. With the evolution of digital design, tessellation patterns is made economical and easier to construct while contributing to more form finding possibilities in the architectural discourse. In terms of fabrication, digital models can be translated into vector linework to be manufactured in factories. Modulation is made possible with tessellation, as standard-sized materials can be mass produced and assembled in factories. This is seen in the Dragon Skin Pavilion, where plywood is cut into identical squares by an CNC mill without material loss, and bent into the same shape, numbered and slotted into position without screws. 3

surfaces with developable strips. 4This depicts the use of digital tools to re-envision tessellation and ease the fabrication process. This visual impact is further amplified at a larger scale, as depicted by Coop Himmelblau’s BMW Welt.5 In this is project, the fractal meshes are non-apparent from afar as the tiling strategy effectively merges the roof and the double cone into a single, fluid surface. This shows the potential of tessellation where surfaces can be smoothed or faceted according to the design intent and strategy adopted. Peters states in the reading the importance of "buy a particular technology" and explore it in depth, and in my case it would be tessellation. 6 At the same time, it is equally important to note that material selection is crucial as the material behaviour determines the tessellation pattern and evolution of the final form. For instance, the Dragon Skin Pavilion obtained the overall curved surface due to the deformable plywood whereas the BMW Welt obtained the seamless surface from the tessellation of rigid steel panels, which requires a larger scale to enable the approximation of a curved surface. Thus, following into our brief for the intervention at Abbotsford Convent, I would have to take into account the material, scale and also the overall intent of my design if tessellation was to be the main design strategy adopted.

Tessellation can also create seemingly dynamic forms, with non-standard units as the base for its patterns. For instance,VoltaDom by Skylar Tibbits attempts to expand the notion of standard “surface panels” by creating doubly-curved vaulted 1 Lisa Iwamoto, Digital Fabrications, 1st edn (New York: Princeton Architectural Press, 2009), p.36-43. 2 Ibid. 3 Ibid, p.40. 4 Ibid, p.40. 5 SJET, "VoltaDom", (2011), <http://sjet.us/MIT_VOLTADOM.html> [accessed 25 April 2016]. 6 Brady Peters, "Realising The Architectural Idea: Computational Design At Herzog & De Meuron", Architectural Design, 83.2 (2013), 56-61.

b.2 case study 1,0

Fig. 2:Voissoir Cloud, 2008, Los Angeles.

the voissoir cloud by iwamoto scott The Voussoir Cloud by Iwamoto Scott with Buro Happold was a project which intrigued me the most in terms of tesselation. It attempts to challenge the juxtaposition between forces and materiality, in this case, pure compression in vaults with paper-thin wood laminate. Through research, I realise that this project not only incorporates tessellation but also patterning and geometry, with the integration of these elements forming seemingly simple yet elegant form. This project follows my research on Gaudi’s and Otto's concepts on catenaries from Part A to show the 21st century digital approach to notion of pure catenaries.1 In this case, Iwamoto Scott used “computational hanging chain model” and form finding programs to determine the shape of vaults. In the vaults, the cells are formed from Delaunay tessellation, forming “three dimensional petals”, which correlates to the pattern of the overall structure. These petals are made from folding 1mm thick wood laminate over curved seams and were also dependant on the adjacent voids and the flange angles. 2 The overall rigidity of the form was made through proper analysis of the tessellation pattern. The size of petals changes according to the structural logic, with smaller cells at the column base and vault edges, and larger cells at the upper vault. The higher the density of the petals, the more connective models there are, leading to higher structural integrity.

Fig. 3 & 4: Break down of Voissoir Cloud & its tesselated panels.

1 Iwamoto Scott, "Voissoir Cloud," (2008), <http://www. iwamotoscott.com/VOUSSOIR-CLOUD>, [accessed 25 April 2016]. 2 Ibid.

iterations

focus Size of the base polygons (S) Unary force (F) S = 0.15 F= 30

S = 0.30 F=30

D = 4.0 F= 5

D= 6.0 F=15

N=3 F= 5

N=4 F=15

elongation Depth of the columns (D) Unary force (F)

frequencies Number of focus points (N) Unary force (F)

RELEase Stiffness (St) Rest Length (L)

St = 50 40

St = 10

same thought

S = 0.60 F=30

S = 0.60 F=60

D= 10.0 F=40

D = 16.0 F=80

D = 20 F=250

N= 6 F=50

N= 8 F=70

N=10 F=70

L=250

L=400

S = 0.60 F=100

L=0 41

intervention frames Hexagonal cells (HEX) & Delaunay (DEL) from Lunchbox + Weaverbird (WB) components Unary Force (U)

HEX mesh + WB frame U=50

HEX mesh + WB window U=50

s.1

hexagonal madness Unary force (F) Rest length (L)

HEX mesh + WB stellate U=500

HEX stellate + WB frame L=1

s.2

Wobbly gloop Weaverbird (WB) Rest Length (L) WB Laplace HC Rest Length=2

WB Laplace Rest Length=2

DIA + WB frame

DIA only

Petals Diamond Panel (DIA) from Lunchbox + Weaverbird (WB) Rest Length (L)

NEW SPECIES STRATEGIES

DEL triangulation

HEX stellate + WB frame L=20

TESSELLATION The mesh creates quads on the surface which can be seen twisted and curved according to the curved surface, This gives a "weaving effect on the mesh, and along with Lunchbox plugins, it can create twisting and geometrical surface panels which form modules of the overall structure. GEOMETRY While making iterations with the grasshopper definition, the depth and compressive shape of the vaults and â&#x20AC;&#x153;columnsâ&#x20AC;? can be manipulated easily, forming a range of geometries, from minimal surfaces (S.4) to fractal, fragmented structures (S.3). By manipulating the rest length of the Springs, I was able to create an approximate smooth surface with varying depths of the vaults. PATTERNATION By adding surface features such as hexagonal patterns and diagonal panels from Lunchbox, I was able to form patterns on the mesh's surface, and thicken/ pipe them with basic grasshopper tools. Along with the undulating surface and the different force of the spring generated by Kangaroo, these cells form interesting patterns on the existing mesh.

WB Thicken Rest Length=2

s.3

DIA only L = 0.5

DIA only L =3

HEX mesh + WB Laplace

intervention swirly twirly Skewed Quad Panels (SQ) from Lunchbox + Weaverbird (WB)

SQ only

SQ + WB frame

Delaunay mesh U=-10

DEL triangulation

U= -15 x6 + WB window

U= -15 x6 + WB frame

inversion Negative Unary force with physical variations + Lunchbox & Weaverbird (WB) Plugins

U= -10 + WB frame + Delaunay mesh

s.4

Rest length =0

Delaunay mesh + WB carpet

NEW SPECIES selection=criteria

S.1= creativity The HEXAGONAL MADNESS was created by increasing the unary force of the Kangaroo spring. Coupled with the use of hexagonal cells, the mesh is stretched into sharp points, forming "inverse stalatites" with its uneven and rusticated outlook, which looks far from the original clean and standardised vaults. This shows that Kangaroo is capable of producing organic protrusions which might be applicable in my final project.

S.2=geometry The WOBBLY GLOOP differs most from the original in terms of its geometry, which is similar to NURBS/minimal surfaces, where the edges of the original curve form the anchoring parameter for the curve. This is produced by varying the rest length of the spring and also using Weaverbird plugin, smoothening the mesh surface. This shows that I am able to approximate curved and smooth surfaces whilst manipulating the geometry with Kangaroo. Nonetheless, the fabrication method and materiality would have to be considered for such a geometry to be produced in my final

S.3=tranformation

S.4=patteration

This PETAL species is successful in transforming the original vaults into blooming flowers. This is done with the Lunchbox plugin by adding diagonal grids and manipulating Kangaroo springs. This shows that plugins can be used to change the outlook of a geometry completely, eventhough the nature of its definitions stays the same. With this thought, I can aim to build a basic definition for my final project and change the outlook accordingly afterwards.

This DELAUNAY mesh resembles the original project in terms of the overall shape (inverted version). However, the Lunchbox plugin enabled diagonal panels which twist and warp throughout the surface. This forms interesting patternation which follows the logic of the geometry throughout the surface. This species is also easier to fabricate as the logic of the structure is shown by the pattern on the surface, enabling the tesselation of panels between the diagonal grid lines.

Fig. 3:Timber laminates of the Voissoir Cloud, 2008, Los Angeles.

speculating the process This design exercise has exposed me to the possibilities of designing with Grasshopper, as I explore the different variations that I could play with by changing parameters and adding additional components from Lunchbox.

rest length had to be within a certain parameter. Nonetheless, the effect of step 2 is amplified in step 3, where plugins are added. The effects are seen through the patterns and divisions provided by the plugins, creating completely different forms from the original. This would be the final facade geometry or the tesselation pattern in terms of the architectural design.

According to the diagram below, step 1 was a relatively easy task where I could manipulate the core geometry and the nature of the struture. This is a very crucial step as a small manipulation of data can change the overall shape. In terms of architecture, this would be the initial form-finding stage of the building.

Overall, the components in all steps are still interdependent on each other and helps produce different outcomes with different qualities. Next, I would like to attempt to change the overall shape and its parameters to create a new form, but based on the similar panelling logic. This knowledge on meshes would also help ease fabrication in Part C.

Step 2 was putting the mesh into Kangaroo and changing the forces and springs acting on the mesh. I found this step a bit limiting as I was limited to only the x,y,z axis in terms of the Unary force, and the STEP 1

POINT

SCALE GEOMETRY

VORONOI REGION INTERSECTION

CURVE

MOVE Z AXIS LOFT

ORIGINAL GEOMETRY

STEP 2 STEP 3

KANGAROO

MESH UV

MESH EDGES

SPRINGS FORCE OBJECTS

LOFTED SURFACE

EXPLODE

HEXAGONAL

DIAMOND

MESH JOIN

WELD VERTICLES

DECOMPOSE MESH NAKED VERTICLES

UNARY FORCE

MESH

LUNCHBOX PLUGINS

ANCHOR POINTS

b.3 case study 2.0

exotique

by projectione,2009

The EXOtique project is a ceiling installation design at the Ball State's Collehe of Architecture.The project involves the use of Rhino and Grasshopper in creating the design within a the timeframe of 5 days and a $500 budget. 1The aim of the project was to use digital tools solely for fabrication to condense the entire design process. In terms of design, the project uses the process of generation, where all data was generated from a surface created in Rhino and put into Grasshopper for further manipulation and change. The surface was first triangulated and then associated into hexgonal groups. These groups were then unrolled with the joinery, labelling, , patterning for distributed lighting, tolerance adjustments and other fabrication techniques added to ease the fabrication process. This shows also the establishment of the relationship between the exisitng environment and the final design by adjusting tolerances according to restrais of the local environment. In terms of materiality, drop ceiling is a hexagonal based component system made from panels for white acrylic and polystyrene. The joints generated in Grasshopper eliminated the need for hardware joints besides the hangers for lamp cords. This shows that digital fabrication can not only ease the construction process, but also save cost and material use. I feel that that this project is extermely coherent with the idea of tesselation as it attempts to use bending and folding of panels to form non-planar geometries as discussed in Part B.1. The project fulfilled what it wanted to achieve, which was fabricating an installation solely through digital tools. It also exhibits the integration of the needs of the environment (lighting) with good design. Fig. 5: EXOtique ceiling installation made from lightweight polystyrene and acrylic.

1 Projectione, "EXOtique," (2009), <http://www.projectione.com/ exotique/>, [accessed 25 April 2016].

Fig. 6: Close-up of the hexagonal panels with perforations.

reverse engineering There were several ways in which I approached this project, with one distinct differences being starting with a 3D morphed surface or a 2D planar grid. to create the hexagonal panels. Both approaches gave me similar results and had their own advantages and limitations. Before starting on Grasshopper, I identified the major elements in this project and also the ways to "reverse engineer" them, as shown in the diagram below: ELEMENTS

DEFINITIONS

STEP 1

hexagonal panels

hexagonal cells/ grid

STEP 2

centre holes for lighting

centre points/ evaluate surface

STEP 3

"perforations" in panels

attractor points

These 3 steps were then integrated and plugins were added on to create the overall structure successfully.

Initial hand drawn sketches & diagrams:

STEP BY STEP

STEP 2

CENTRE HEX

STEP 1 HEX GRID

SPLIT

CIRCLE

CULL PATTERN SURROUNDING HEX

BOUNDARY SURFACE

CIRCLE

CIRCLE (FOR LIGHTING)

STEP 3

POPULATE GEOM POINT IN CURVE

CULL PATTERN

DISTANCE AS RADIUS

REMAP

CIRCLE (PERFORATIONS)

- BOUNDS - DOMAINS

EXTRACTING BOUNDARIES+ASSEMBLY

HEX GRID

BOUNDING BOX - DECONSTRUCT BREP - LIST ITEM - BREP WIREFRAME

AREA - TO GET CENTROID CURVE CLOSEST POINT LIST ITEM - FOR EACH EDGE

DISPATCH EXTRACT POINTS CLOSEST TO EDGE CURVE

REPEAT FOR EACH EDGE

POLYLINE - JOIN POINTS

MERGE

BOUNDARY CURVE

PROJECT

SURFACE SPLIT STEP 1- CULLED HEX CURVE PROJECT STEP 2-CENTRE CIRCLES STEP 3PERFORATIONS

speculation

In these few attempts to reverse-engineer the Exotique grasp and sucessfully produce:

* tesselated hexagonal surface * culled hexagonal pattern for lighting * perforations density + radius accor

However, I was not satisfied planar NURBS surfaces which cannot be unrolled and f to be done in reality, I decided to push further to seek in search of producing planar hexagonal cells. After muc achieve my goal above by turning the surface into a me

e, there are a few main concepts which I managed to

g + perforations rding to attractor points

d with this outcome as the hexagonal cells are nonfabricated with a laser cutting machine. As it was proven for other alternatives to reverse-engineer this project ch research and try outs, I decided that I could possibly esh, as well as using the Kangaroo planarization tool.

KANGAROO PLANARIZATION

FORCE OBJECTS

LOFTED SURFACE

HEX GRID

- EXPLODE - REMOVE DUPLICATE LINES & POINTS

- SPRINGS - PLANARIZE - CURVE PULL

KANGAROO PHYSICS

I tried using the Planarization tool in Kangaroo Physics to planarise each hexagonal cell. By varying the planarization strength and curve pull strength, I was able to reach a outcome where ALL hexagonal cells were planar. Thus, all cells can be unrolled and fabricated. However, the flipside was that the resulted geometry had very sharp kinks and edges, dissimilar to the seemingly smooth and fluid installation of the Exotique. This is most likely due to the curvature of the original lofted surface. In my case, this was not a suitable solution to planarize the cells as it disrupts the overall geometry.

MESHING

LOFTED SURFACE

HEX GRID -EXPLODE

CONSTRUCT MESH

DECONSTRUCT MESH

CIRCLE AT CENTRES

POPULATE GEOM.

CIRCLE AS PERFORATIONS

CULL PATTERN

This was a better attempt to planarize the hexagonal cells by splitting the hexagonal cells into half. This enabled the 4 edges to form a mesh surface. Within the mesh surface itself, I was successful at culling out patterns which defined the lighting and perforations for the project. Although the overall geometry of the structure was maintained, The hexagonal cells produced will be a polygon with 4 edges instead of an actual hexagonal cell. Nevertheless, this was my closest attempt to reverse-engineer Exotique which could be fabricated in reality.

b.4 technique development

change of thought Departing from Case study 1, I start to orient my design thinking towards the given brief situated at Abottsford Covent, the Sacred Heart courtyard, i.e. - to design a mixed mode event space suited for theatre/music/ outdoor cinema, food and bevarge offering and enjoyment space which is connected with vertical or horizontal linkages throughout. Subsequently, I started to consider architectural and spatial qualities in my parametric exploration. The modes of fabrication are also taken into consideration as the brief would require the project to be buildable at a 1:1 scale. Nonetheless, I decided that creativity and originality of design would remain my priority, with utilising the parametric tools to produce new and unprecedented designs as my end goal. With these new perspectives in mind, my selection criteria for the iterations of Case study 2 deviates from the previous case study 1, which only consists of factors concerning design. The new selection criteria involve a higher level of complexity including fabrication, spatial quality and human experience. The criteria are explained in the next page.

SELECTION CRITERIA CASE STUDY 2: CASE STUDY 1: *CREATIVITY *AESTHETICS /COMPLEXITY *EASE OF FABRICATION *ARCHITECTURAL /SPATIAL QUALITY *DESIGN FLEXIBILITY /ADAPTABILITY * INTERACTIVENESS

* CREATIVITY *TESSELATION *GEOMETRY *PATTERNATION

KEY: 1. CREATIVITY - refers to the originality of design & its capacity to devite from design norms 2. AESTHETICS/COMPLEXITY - design intricacy and the quality of the overall design outlook 3. EASE OF FABRICATION - the ability to be fabricated with current technology & materials 4. DESIGN FLEXIBILITY/ADAPTABILITY - the capacity of the design to respond to change without losing its inherent design qualities 5. INTERACTIVENESS - the ability of the design to connect to the end user and the environment (physical & cultural)

methodology The iterations are made according to 3 main categories - physical modifications, patternation/additions and geometry as illustrated below. The physical modifications and patternation involve parameter changes at a smaller scale of the hexagons and perforations whereas additions and geometry involves the overall shape and outlook of the design. This largely eased the iteration process as the software was able to handle changes quickly without crashing

PHYSICAL MODIFICATIONS

ITERATIONS OF EXOTIQUE

OVERALL GEOMETRY

PATTERNATION ADDITIONS

matrix 1- physical modifications to tes scale Scale (S) Extrusion (Ext)

S = 0.8 Cull pattern

S = 0.8 Cull pattern + Pipe

S = 0.8 ; Ext = 300 Jitter Ext

scale+move Scale (S) Move (M) Extrusion (Ext) Centre points (Cpts)

S = 0.8 Cull pattern according to attractor crv

S = 0.8; M= (10-300) +Jitter + Loft

Move cpts + Ext cell crv cpts +Loft

Scale+cull pattern Scale (S) Cull pattern (CP) Extrusion (Ext) S = 0.8 + Ext CP = TTFF

S = 0.8 +Ext CP = FTFF

S = 0.8 +Ext CP = FTFF + Cull no

shape of grid cells based on row above Lunchbox plugin used to change base hexagonal cells

Diamond cells

Random Quad cells

Skewed Quad c

sselation

v to

othing

S = 0.8 ; Ext = 500 Attractor point +Jitter Ext

S = 0.9; M= distance to surface Cpts +Loft

S = 0.8 +Ext (1-500) Jitter CP = FTFF

S = 0.8 ; Ext = 500 Attractor point +Jitter Ext

S = 0.9; M= distance to surface Cpts +Loft Wb pictureframe

S = 0.8 ; Ext = 500 Attractor point +Jitter Ext+ Flip

S = 0.9; M= (10-5000)+Jitter + Loft

S = 0.8 +Ext (1-500) Jitter + XY direction; CP = FTFF

cells

matrix 2 - patternation with perforati cull pattern Few techniques used to cull the perforations on the panels

1. Curvature of base surface (Radius)

2. Curvature of base surface (Density)

3.Image sam (Densit

mesh pattern Weaverbird (WB) plugin applied onto the meshed version of the project Distance (D)

WB Catmull-Clark smoothing

WB Carpet; D=30

Sphere + Attractor point at surface centre

Sphere + Attractor point at culled hex centres

WB Bev

2d to 3d In this iteration, 2d circles (perforations) are transformed into 3d spheres , resulting in a 3d differentiation in the original perforation pattern based on the hexagonal grid

Sphere at cul + WB

Attractor points ( Apts) Cull pattern (CP) Weaaverbird (WB)

Metaballs at culled hex centres + Jitter radius + WB pictureframe

Metaballs at culled hex centres + Jitter radius + WB window

ions

mpling ty)

vel Edges

lled hex centres B window

4. Image sampling 2 (Density)

WB Carpet; D=100

WB Stellate; D=2000

WB Sierpinsky Triangles subdivision; Level 1

Metaballs at culled hex centres + Jitter radius + pipe hex cells

Metaballs at culled hex centres + Jitter radius + pipe hex cells + WB window

Metaballs at culled hex centres + Jitter radius + pipe hex cells

matrix 3 - geometry & kangaroo

spring +forces Unary force (U) - magnitude & direction Cull pattern (CP)

U= 100 (z); 50 (x); 70(y)

Anchor points on Cpts of every hexagon + U= 50 (z)

Anpts according to CP = TF + U=50 (z)

Anchor points (Anpts) are changed throughout the iteration process

U= -500 (z); 50 (x); 70(y)

U= 500 (z); 50 (x); 70(y)

weaverbird + anchor points Delaunay mesh

WB Stellate

Weaverbird (WB) plugin applied onto mesh

Anchor points culled; U= 100 (z); 50 (x); 70(y)

Anchor points at surface edge

Anchor points and Unary force applied where suit

Anchor points at surface edge + WB window

WB Stellate +Anchor points at side hex cells

WB Window +Anchor points at side hex cells

most meaningful outcomes S.1 - This elegant outcome is most suited for a ceiling/canopy structure, with the fludity of the surface creating a sense of dynamism, indicating movement and allowing for human interaction.

Creativity *** Aesthetics/ complexity **** Ease of fabrication *** Architectural & spatial quality **** Design flexibility & adaptability * Interactiveness ****

S.2 -This random extruded outcome produces levels of spatial qualities which can be suited for seating, roof structures and walkways. The fluid structure also highlights the connectivity of one space/ function to another.

Creativity **** Aesthetics/ complexity *** Ease of fabrication * Architectural & spatial quality ***** Design flexibility & adaptability ***** Interactiveness *****

S.3 -This random extruded outcome produces levels of spatial qualities which can be suited for seating, roof structures and walkways. The fluid structure also highlights the connectivity of one space/ function to another.

S.4 -Although this result has a mundance outlook, its benefits lies in the ability for its geometry to be changed easily according to the surrounding criteria, while generating plenty new forms. This shows that Kangaroo might be a useful consideration in Part C.

Creativity ****** Aesthetics/ complexity **** Ease of fabrication *** Architectural & spatial quality *** Design flexibility & adaptability ** Interactiveness *****

Creativity * Aesthetics/ complexity * Ease of fabrication ***** Architectural & spatial quality *** Design flexibility & adaptability ****** Interactiveness ***

b.5 prototypes

#1: panel & fold

AIM: To join planar panels seemingly doubly curved surfaces without joints/ fixings.

14 17

2D layout of panels with tabs and a number labelling system.

This prototype was based on the meshed version in Case study 2 (page 59). The mesh is made into a NURB surface, unrolled, added with tabs and then labelled with numbers. Each panel has 4 edges, in which one of them runs through the centre point of the hexagonal cell, and 3 of them are connected to neighbouring cells. The panels which share the same edge will have the same number on one edge. The panels all laser cut, with tabs etched, then folded and glued together with neighbouring tabs. ADVANTAGES - this system is efficient as it can potentially utilise only one material to produce the final outcome. No external joints or fixtures are to be made to the panels, preserving the orignal quality of the panel as it is. It is also quite flexible as the tabs are foldable, enabling the entire struture to morph slightly according to the pressure points being applied to the geometry. DISADVANTAGES - the surface is not completely smooth. However, this could potentially be overlooked if the individual panels are smaller in scale and repeated many times over a large overall geometry. 69

#2: panel & fold (multiplied) AIM: To investigate result of increased tesselation/panels on the shape of a geometry. This prototype is an extended study of Prototype 1, where I moved the centre scaled hexagon upwards and lofted the two hexagons together to form an extruded hexagon. I used the same procedure for the tab system as used before in Prototype 1. FINDINGS - The overall structure is more rigid as compared to Prototype 1 due to the more tesselation panels in a single cell. However, it is able to produce a more "curved" overall geometry due to the additional edges in the cell which allows for directional change between one panel and the other. PROBLEM - I intended for the hexagonal cells in this prototype design to be extruded, however, I etched the tab edges on the opposite side of the panels, resulting in "inverted" hexagonal cells instead. Nonetheless, the material property and relationships between the panels remain the same. This showed to me the importance of the process of translating from design to fabrication, which has to be detailed and checked carefully before sending the project for machine fabrication.

original intended "extruded" hexagons

outcome of mistake"inverted" hexagons

#3: Panelling forces AIM: To investigate the relationship between planar, rigid panels under the force of gravity. As much of my case studies I have analysed involved the use of the Kangaroo plugin and forces of gravity, I was keen on testing this gravitational effect on planar cells - a main issue identified while reverse engineering Case study 2.0. I laser cut hexagonal framed panels with perforations at the side to allow for ringed connections (flexible connections). Two variations to this prototype involve the connections between panels1) at the centre of each edge; 2) at the corners points of the polygon. This study managed to answer probing questions as below: What will happen when planar modules are put under gravitational forces? The planar modules actually form a quite rigid surface that can take on a certain amount of load. Not much susceptible to wind forces once it reaches the point of equilibrium. It forms interesting geometries (although panels are modular) depending on the point where the panels are hung and how/where they are connected. How will the connections between panels influence the the overall geometry of the tesselated panels? 1) at the centre of each edge (Fig. 1,4) - forms a stable rigid "catenary" structure with almost flat surfaces at the centre. 2) at the corners points of the polygon (Fig. 2,3) - having one less connection, it the panels droop down where it is only supported at 3 corners. More suited/ has potential for warped/ twisted geometries.

Fig.1

Fig.2

Fig.3 (above); Fig.4 (below)

#4: multiply. AIM: To investigate the effects produced by the combination of tesselation and patternation with a larger scaled prototype. Following prototype 3, I decided to expand on the joints made at the centres of each edge, and added more panels to view the overall effect. The result was quite surprising as the overall combination of hexagons were able to produce a variety of geometries which were quite distinct from each other. This was made by manipulating one panel, i.e. adding a force onto a single panel, and the force will be transmitted and translated on the overall design. This is due to the interconnectivity but also the flexibility of the joints between the panels which enables it to move within the radius of the metal rings. POTENTIAL OPPORTUNITIES - the degree of change in geometry can be manipulated by the flexibility of joint (i.e. in this case the radius of metal ring connectors) - when made in a larger scale with more repetitive panels, more interesting geometries can be formed - this geometry can be translated into algorithimic definitions which Grasshopper and Kangaroo but determining two anchor points. The structural integrity could also perhaps be explored with the Karamba plugin. INTERESTING DISCOVERY -EFFECTS (patternation) - the combination of the perforations and hexagonal frames formed interesting shadow patterns - these shadows changes according to the geometry and source of light - almost like the reflection of the geometry on the ground. - a reminder that similar effects - visual and experential, which makes architecture "multi-sensory", to be considered for final design proposal in Part C.1

1 â&#x20AC;&#x160;Branko Kolarevic, Manufacturing Material Effects : Rethinking Design And Making In Architecture, 1st edn, 2008.

b.6 proposal

abbotsford convent The site is situated at the heart of the Abottsford Convent, a place rich in history and also in the recent years, rich in culture and the arts. In the early 19th centuries, the site was a meeting place for indigenous tribes due to its connection to Merri Creek. 1The area was then developed in the 1830s and sold to the Sisters of the Good Sheperd in the 1860s. A convent was established to take care of women in need. It ran for approximmately a decade before it was closed down. A Magdalen Asylum was set up during this period of time, and become of great significance to Melbourne's history in the latter years. The nuns' mode of care was extremely disciplined with hard, unpaid labour required of the women, and there have been much criticism and discussion of their mode of operation. Thus, the convent is significant as it is one of

the last remaining sites where the society can understand the societal and religious norms of the 19th century in Australia. The site is a courtyard bounded by the Sacred Heart, Magdalen Laundries, Industrial School and St. Anne's building. All of these buildings were crucial to the operation of the Magdalen Asylum. I decided that thus the Asylum and its history should play an important role in my final design.

1 Abbotsford Convent, "Timeline", < http:// abbotsfordconvent.com.au/about/history/timeline>, [accessed 27th April 2017]. 2 â&#x20AC;&#x160;â&#x20AC;&#x160;Ibid.

site surrounding & context The convent grounds is situated North West from Melbourne CBD. It is mostly surrounded with lush greenery, the crafts and performing arts community and also community focal points such as the Collingwood Children's Farm and communal parks. It is a very family-oriented location suited for the young and the elderly.

Unimelb early learning centre

Eastern freeway

Studley Park

Convent's property Collingwood Children's farm Yarra River

Abbottsford convent

Convent's property To Melbourne CBD

~13 minutes by car to CERES

nature The convent is wrapped by the Yarra River around the East, Its proximity to the waters led to the rich history it has today due its initial use by indigenous tribes. The river forms a potential mode of transport to the site eventhough it is currently not used as such. Across the river lies the Studley park and Dight Falls up North. These sites contribute to the variety of flora and fauna found on site, leading up to the lush greenery in and surrouding the convent grounds.

man The convent is bounded up North by the Eastern Freeway, while being surrounded by residential housing at the West. This shows great human movement and habitation around the site. Note that the convent only has a single road access through St Heliers Road which stops at the entrance of the Collingwood Children's Farm. This makes the site exclusive as it is not influenced by the activities of surrounding establishments, adding to its unique and private value as an area of relaxation and retreat into Melbourne's history and the arts. ~15 minutes by car from the Melbourne town hall

site context Within the convent grounds, there are plentiful of food and beverage as well as art studios within walking distance. Thus, I would like to focus more on the idea of performance and theater which was less apparent on site. There are 4 main access points into the courtyard running East West. This gave me the idea to link the buildings based the horizontal axis which runs through all access points.

Good Sheperd Chapel

Cafes, Food & Beverage; Art galleries; Wellbeing studio

Rosina Auditorium, Studio spaces Hub/studios for creative disciplines

Heritage gardens

Sophia Mundi Steiner School

Plan of Abbotsford Convent

Snapshots | Here and there 78

GENERATING IDEAS

FUNCTION

ARTS

? Fig. 6: Abbotsford convent in 1963.

outdoor seating/ resting spaces; unique/specific spaces; levels- propped up/ down spaces

OUTDOOR CINEMA & MUSIC STAGE

PEDESTRIAN BRIDGE / LINKAGES

interconnectivity; fluidity; FLOW in design

DESIGN BRIEF

FOOD & BEVERAGE

HISTORY

After a site visit, I came to realise that there are three main themes at Abbotsford convent - the arts & performing arts, the history and heritage of the asylum, and lastly the current restoration and refurbishment process where new acitivities and programs are introduced into restored buildings on site. Following these three themes and the requirements of the brief, I came up with two proposals which illustrates the synthesis of my ideas. The proposals Now and Then was conceived while I was working on my collages for my site analysis (refer to appendix). These are main concepts explored, where discoveries from prototypes in B5 could potentially be adapted to form their fabrication methods.

OLD/NEW; HERITAGE & HISTORY

patternation? ; relationship to culture and history; connotations

spatial divisions / clusters; servant and served spaces 79

PROPOSAL #1 - now

Fig. 7

The NOW proposal stems from the iteration result - Selection 1 and 2 from Part B.4. It consists of a hexagonal tesselated surface which morphes from a grid on the floor into a canopy and pedestrian bridge. The main concept is the fluidity of the surface which allows for different spatial divisions, levels and aesthetic varity. It not only creates linkages and connections between the buildings, but also ties the courtyard together as a coherent whole. This design was mainly inspired by the 4 access points into the courtyard. I wanted the design to connect all 4 points but also define spaces within to suit the design program. Thus, the extrusions of the panels helps creates spatial differntiation while subdividing the courtyard space to enable the different programs to be allocated in the site. The hexagonal panels will vary in size according to its function - e.g. a pedestrian footstep (smaller) or a mini stage (larger). In this case, the design would need further fine-tuning in terms of the vertical transportation in terms of ramps and stairs. However, the main idea would be the dual function of the installation to be a "over"-a canopy/roof, but "under" - stage, steps, at the same time. Main materials in mind include plastic, polycarbonate, or similar lightweight but planar elements.

"UNDER" "OVER"

PROPOSAL #2 . then

Fig. 7

The THEN proposal is a more speculative project as I started to think about tying the Convent's history with the overall design. The main idea being that humans are increasingly becoming more narssistic and self-absorbed due to increased usage of social media and technology, and this might change the future of theatre and performance where humans might not want to watch or enjoy any form of entertainment except the ones that are related to oneself.

The courtyard, situated at the heart Magdelan Laundries, inspired the idea of creating "soap bubbles" which has connotations with the restraint and yearn for freedom among working women in the Sacred Heart asylum. In THEN, large, glass "soap bubbles" form "performative spaces" in which self-absorbed individuals "perform" what they want to, as a form of self-entertainment. Nonetheless, similar to the women in the asylum, they are forever trapped within the boundaries and confinement of their social norms. This aims to critique the possible impact of digital and technology on performing arts but also , more importantly - human interaction, where social norms might again be a impediment to civilisation. These bubbles would essentially be glass and/or transparent membranes tied onto rigid panels tesselated across the courtyard.

SOAP BUBBLES

social norms/ perceptions/

MAGDALEN LAUNDRY

confinement/ restrictions

Larger performance "bubbles" supervision/ security

Smaller resting bubbles? Social hubs? 83

afterthought After 8 weeks of Studio Air, I feel that my knowledge on digital design and parametric modelling has increased significantly, especially in the field of understanding and managing data structures as well as the nature of how they work. I feel that I have indeed involve myself in the 8 Learning Objectives of this course, with each of them pushing me to achieve higher standards in terms of critical design thinking and algorithmic design. In Part B1, I was exposed to the many interesting architectural works produced by parametric modelling and algorthimic thinking. I found it really interesting how these designs are particularly "forward-looking", in the sense that they all attempt to push boundaries of design by creating new systems, joineries and combination of material use which are unprecedented in the design field. By further probing into the algorithmic thinking of my case studies, I started to understand the fundamental logic and technical qualities of these projects, and the methods in which they are fabricated (Objective 6). Subsequently, this inspired me to push further in my B2 and B3 iterations and designs to produce outcomes which are most creative and out of the ordinary. Successful iterations are then referenced and analysed on how it is conceived, so I can continue to produce more variety from creative outcomes (Objective 2) . Meanwhile, failures were also taken note of to better understand how various components work and favourable definitions. (Objective 8). An example of my improved understanding in algorithmic logic would be the use of the Kangaroo plugins while iterating case studies in B2 and B3. Through this plugin, I was able to manipulate spring forces, rest lengths and many other parameters to completely change the geometry and nature of the original design. Through this plugin I was able to better understand the impact of forces and gravity on materials which are susceptible to force, adding to my understanding of the relationship between architecture, materials and structures in "air" (Objective 4). Although there were many times where I met seemingly "dead ends" in the process of iterating and reverse engineering previous parametric works, I found that most solutions through these problems are very logical and I could most easily solve them through simple methods which in fact, just requires a different way of thinking -algorithimic thinking, which I have to improve on throughout this course. Thus, I feel that my thinking has slowly changed and altered towards the logic of algorithms and data trees throughout the process of Part B (Objective 7 & 8).

objectives & outcomes With a chosen technique- tesselation in B4 and B5, I started to think about different ways in which it could be materialised in reality. For instance, in prototype 3 & 4, I started to think about the synthesis of catenary action (found in Case study 1) with the panelling logic (Case study 2). Explorations with prototypes led to various conclusions on how the tesselation technique could be approached (Objective 3). Lastly, in the proposal for B6, I started to make linkages between algorithmic thinking and requirements of the brief for a multi-functional space. Inspired by my collages made in part for the group site analysis but also the various "forward looking" research cases studies in B1, I derived two concepts, where one focuses on the flow and functionality of the space, whereas the other is a specultive project based around the potential change in the field of performing arts and entertainment (Objective 1). What I have realised through research is that most algorithmic designs are still built at a relatively small scale, but they embody strong architectural ideas and are arguments relating to the current architectural discourse (Objective 5). Thus, I feel that there is a need to consider the future of performing arts and entertainment in this particular project, however, through the lens of digital and parametric design methods. The second idea was also spurred by the idea of speculation and "critical designs" introduced by Dunne in Week 1's reading, which was aimed to challenge narrow preconceptions and assumptions about design in everyday life. 1 I thought that this concept was interesting and tried to explore ways in which I could translate critical thought into material forms. I hope that my algorithmic thinking will continue to expand as I proceed into Part C. At this stage, main design concepts will have to be properly defined as a group before I can move on to material research and fabrication. I am definetely looking forward into developing a project at Abbotsford Convent with more inputs from group mates.

1 Anthony Dunne and Fiona Raby, Speculative Everything, 1st edn ([S.l.]: MIT, 2014).

B.8 appendix algorithmic sketches â&#x20AC;&#x153;Algorithmic thinking means taking on an intepretative role.......we are moving from an era where architects use software to one where they create software.â&#x20AC;? Schumacher, 20111

Schumacher, Patrik. 2011.The Autopoiesis of Architecture: A New Framework for Architecture (Chichester:Wiley), 10.

recursive elements Looking into the use of clusters, bezier curve and pipe to iterate the overall form to form new creative species.

evaluating fields & forces Experimenting with field charges and the creation of 3dimensional field lines as well as connected field lines from multiple field charges.

fractal geometries - use of clusters

Kangaroo - flexibility of geometries

Discovering and testing the effects of parameter changes in springs and unary force in the Kangaroo plugin. 89

skill combination -

plugins, cull pattern, attractor points

skill combination -

cull pattern, metaballs, plugins

BIBLIOGRAPHY Abbotsford Convent, "Timeline", < http://abbotsfordconvent.com.au/about/history/timeline>, [accessed 27th April 2017]. Dunne, Anthony, and Fiona Raby, Speculative Everything, 1st edn ([S.l.]: MIT, 2014). Peters, Brady, "Realising The Architectural Idea: Computational Design At Herzog & De Meuron", Architectural Design, 83 (2013), 56-61 <https://doi.org/10.1002/ad.1554>. Forster, Kurt W, ‘Pieces for Four and More Hands’, in Philip Ursprung (ed), Natural History (Lars Muller Publishers (Baden), 2005), p 42. Kolarevic, Branko, Manufacturing Material Effects : Rethinking Design And Making In Architecture, 1st edn, 2008. Projectione, “EXOtique,” (2009), <http://www.projectione.com/exotique/>, [accessed 25 April 2017 ]. Iwamoto, Lisa, Digital Fabrications, 1st edn (New York: Princeton Architectural Press, 2009). Iwamoto Scott, “Voissoir Cloud,” (2008), <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [accessed 25 April 2016]. SJET, “VoltaDom”, (2011), <http://sjet.us/MIT_VOLTADOM.html> [accessed 25 April 2017].

IMAGE REFERENCES 1. Hyposurface, “Hyposurface, Boston Convention Centre”, (2007) <http://www.hyposurface.org/> [accessed 25 April 2017]. 2, 3&4. Iwamoto Scott, “Voissoir Cloud,” (2008), <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [accessed 25 April 2017]. 5. Iwamoto Scott, “Voissoir Cloud,” (2008), <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [accessed 25 April 2017].

6&7. Bryce Raworth, “Sacred Heart - Heritage Impact Statement”, (2016). *all images are all author’s own unless indicated above.

c detailed design

C . 1 | d e s i g n c o n c e p t

96-147

C . 2 | t e c t o n i c e l e m e n t s & p ro t o t y p e s

148-167

C . 3 | f i n a l d e t a i l m o d e l

168-185

C . 4 | l e a r n i n g o b j e c t i ve s & o u t c o m e s

186-195

196-197

b i b l i o g r a p hy & re f e re n c e s

c.1 d e s i g n concept

concept generation In Part C, we were put into groups of 3 to enable the collaboration of ideas and workflows between studio members. This was a leap from the previous parts of the course as designed ideas were no longer controlled by the individual but shared amongst group members. Thus, compromise and communication was crucial in achieving a satisfied end goal. After analysing and doing background research on the client and program of the brief, we decided that our concept would revolve around the aspects of sound and music. We progressed through several ways in which we can bring out the concept through the design (pg. 105). After some feedback and discussion, we arrived at the final design concept of creating a unique experience of music and sound appreciation at Abbotsford Convent (pg.124). Precedents along with the opportunities & contraints found on site further helped to inform our design. In terms of Grasshopper scripting, our choice of technique changed from panelling to sectioning and patterning to better suit the design intent. Nonetheless, we managed to grasp the main focus for our design project which was really helpful while making design decisions.

CLIENT: Abottsford Convent in collaboration with Shadow Electric

PROGRAM: Mixed mode event space including outdoor cinema, music stage, food and beverage offering + high level pedestrian bridge.

Fig. 1 :The music scene at Abbotsford Convent.

precedents

98 Fig. 2 : Latlong project, 2015, San Francisco.

PRECEDENT #1 | LATLONG , VISUAL DEPICTIONS 2015, San Francisco, California by Refik Anadol with Kilroy Realty Corporation / John Kilroy and Skidmore, Owings & Merrill LLP Architects.

This project is part of a public art commission for the 350 Mission Building in San Francisco, aimed to define "new poetics of space" through media, arts and architecture in the 21st century.1 This video project is a real time visualisation of twitter activity in San Francisco, where every geotagged tweet is mapped to a pointcloud model of the city. In addition, every tweet emits a swarm of particles that surround the point-cloud to symbolise the words and letters of the tweet. The result is a cinematic, site-specific parametric data sculpture that embodies "intelligence, memory and culture".2 This project is rooted in data-driven narration and visualisation, which we thought was extremely relevant to what we wanted to explore in our final design with the aid of Grasshopper. Its aim of "mak[ing] the invisible visible" inspired us to further explore the visualisation of sounds in the Convent.3 It also shows the relevance of data and media in the contemporary architecture discourse, and how they could aid the design process by producing new and unprecedented experiences and art forms while opening doors to creative architectural expressions. 1 Refik Anadol, "Virtual Depictions", (2015), <http://www.refikanadol.com/works/virtual-depictions-san-francisco/>, [accessed 3 June 2017]. 2 Ibid. 3 Ibid

100

Fig. 3 : Past artworks produced at Soundwaves, 2017.

PRECEDENT #2 | SOUNDWAVE ARCHITECTURE 2017, San Francisco Bay, California by MEDIATE Art Group + 50 different artists

This is the 7th season of Soundwave, a platform focusing on creating meaningful and contemporary art and music experiences through the activation of people and places in San Francisco. Artists would design and construct new environmnents through sound, exploring various fields such as spatial acoustics, urban somatic fields and ambisonics.1 These works are aimed to inspire audiences to "listen beyond the surface, connect with each other and find innovative ways to see, hear and interact with the environment around us".2 We found this season of works relevant to our design concept as well as the given site and brief as it explores the sonic connections to our built environment. It explores the creation of harmony between the built environment with music, which led us to think about how we could connect the use and existence of the surrounding buildings with our design. The artworks further gave us inspiration to create a dynamic and wholistic design which not only focuses on the aesthetics but also the experience of the users within the design.

1 â&#x20AC;&#x160;Soundwaves (7), "Past Events", (2017), <http://soundwavesf.com/7/>, [accessed 3 June 2017]. 2

Ibid.

101

site analysis The existing site presented several opportunities and constraints in which we could base our design upon, as listed below. These were the main factors which also contributed to the overall design logic & form. We decided that our design was to be a permanent structure in the courtyard, and therefore had to complement the current site situation as well as the flow of the site. It was also agreed that the tree in the courtyard is to be removed so as to create a open, unobstructive space that could be accessible and visible from all directions, promoting a smooth flow of circulation as well as enabling human interactions to occur.

Abbotsford Convent

Main Yarra Trail

1 2

St. Helierâ&#x20AC;&#x2122;s Street Carpark Potential access point

3 4

Existing access points

1. St Helier's Street and the Main Yarra Trail are the only two main access points to the site. Thus, the ideal entry point into the site should be at the intersection of these two paths, i.e at the North of the courtyard. 2.We decided that we would open up the North buildings to enable a main entry into the design space via the carpark.This would increase the accessibility to the site and also create a linear entry into our design. 3. The existing access points would remain, and act as exits or transition spaces into other parts of the Convent. 4. The tree in the middle of the courtyard is to be removed to create a open space within. 5. St Anne's building (currently unused) proposed to be a music studio with glass windows, where the music making process can be experienced by passerbys & visitors to the site. 6. The design can possibly become a shade against the North sun. 7. Design should be user friendly for all ages, suitable for family outings and community events. 8. Design should relate to the Yarra River as well as the surrounding natural features.

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Surrounding buildings

-mostly residential -target users include families, the young and the elderly Transport

-many modes of transportation -can be accessed from all around the site Yarra River

-contribute to flora & fauna found on site Topography & greenery

-surrounded by lush greenery -good shading provided at most areas -generally flat topography

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ideas-flow of thought Our ideas for the design changed subsequently throughout the design process, as we began to eliminate options of what we wanted to explore and tried to hone down to a clear, strong concept.

The sketches on this page only show a few of the many draft sketches we did as we were discussing the change and flow of ideas in our design.

Our concept also changed the techniques we used in Grasshopper, where we initially focused on panelling, then changed to sectioning and patterning in the later stages. This shows the use of parametric tools to complement and aid the design flow.

We found illustrating a really fast and easy way to communicate our ideas among each other. The flow diagram on the right summarises the main processes in our entire design flow, and the various steps we took to improve the design.

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agenda

outcomes/feedback

FEEDBACK FROM PART B - focus on one single strong concept instead of a combination of multiple ideas - experiment with prototypes to get familiar with materiality & its strength & weaknesses - get creative with ideas

- decided on the main concept - SOUND - decided that we would use machine operated fabrication techniques such as laser cutting and CNC milling to test out digital fabrication workflows

DATA COLLECTION & VISUALISATION - explored the Firefly plugin to write up definition for sound visualisation in Grasshopper - collection of sounds from Abbotsford Convent through first hand recordings and music tracks from Shadowelectric

- managed to solve definition to generate curves from soundwaves, deciding that it would be the main driving component for the final design - decided to use a combination of sounds from the site rather than just from Shadowelectric

DESIGN EXPLORATION 1 - TESSELATION - exploration with panelling & Lunchbox in Grasshopper - creation of canopy that morphes and merges with the ground plane - the play of two materials - sound absorbent material and glass to achieve a transition of sound space

- Feedback - too much components working together, complicate main focus - decided to leave the ideas regarding materiality and focus on soundwaves

DESIGN EXPLORATION 2 - SECTIONING - utilised base surface from previous attempts to create sections throughout the design

- Feedback -too simple as a roof, needs more variety to design

FINAL DESIGN - extruded main sectioning curves - added perforations on canopy membrane to improve sound quality of the space, ventilation & aesthetics

- Feedback - good integrated concept, consider joints & constructabilty issues

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DATA TO DESIGN - firefly DATA

PARAMETRIC & ALGORITHMIC TOOLS

DESIGN

In Lecture 9, Dr Gideon emphasised on the importance of utilizing data collection to create better built environments. 1 Following this, we were really keen to start our design with data, and follow the generative design workflow where "formation precedes form".2 In this case, we explored the Firefly Plugin in Grasshopper to find the best way to convert sounds into visual forms. We managed to convert sounds into curves which showed the nature of sounds and their distinct properties and qualities. The sounds are recorded for approximately 7-10 seconds and incorporated into the Grasshopper definition to obtain a series of curves. Parameters include the data dam where the delay of data across the document (never - 10 secs) can change the distance between curves produced. By changing sound samples and data dam options, we obtained different sets of soundwaves represented as curves in Rhino. 1 Dr. Gideon Aschwanden, Lecture 9, ABPL30048 Architecture Studio Air, University of Melbourne, 2017. 2 Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture, 1st edn (London: Routledge, 2014), p.2.

R DATA DAM

FREQUENCY SPECTRUM

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- Delays data that gets transferred across the document

LIS

TESTING SAMPLES

DATA RECORDER

ST LENGTH

SOUNDS FROM SHADOWELECTRIC PERFORMANCES

MASS ADDITION CONSTRUCT POINT SERIES

NURBS CURVE - Construct Nurbs curve from control points

DATA RECORDER

CURVE - Data represented as curves in Rhino

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sounds from... CONVENT cafes, studios

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MUSIC

shadowelectric

Instead of just utilising the sound from music produced by Shadowelectric, we decided we should also include sounds from the Convent's surrounding context. This would strengthen the sense of place and give a distinct identity to the final design, hightlighting the design as one that is unique to its location and its relationship with the surroundings. Thus, several more samples were collected from within the Convent, the Main Yarra Trail and Collingwood's Children Farm.

NATURE Yarra River

COMMUNITY Collingwood's Children Farm

Fig. 4 : Google Maps, 2017.

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Cull Pattern: TFFF

Cull Pattern: FTFF

Cull Pattern: FFTF

Cull Pattern: FFFT

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combination of soundwaves FIREFLY DATA COLLECTION + CULL PATTERN

We selected 4 main soundwaves from Shadowelectric, the Convent nature and the community according to the their distinctive features to give variety to the overall design, The 4 sets of curves were then culled and combined into a new set of curves. This is a crucial step in our design as it integrates our design with the site and the surrounding context. 111

grasshopper flow Once we have the soundwaves curves to base our design on, we started to explore how we could further develop this design in Grasshopper to push the curves into a new design for the courtyard. The lofted curves form the base surface for the development of the design. We started off with panelling but moved towards sectioning and patterning towards the completion of the final design to better reinforce the design concept of walking through sound.

DESIGN GENERATION

SOUND COLLECTION

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BASE SURFACE

GENERATION OF SOUNDWAVES

COMBINATION OF SOUNDWAVES

- FIREFLY PLUGIN - FREQUENCY - RECORDING

- CULL PATTERN - LIST ITEM

LOFT

SCALE

TR AGA BUILD

DESIGN EXPLORATION EXPLORATION 1

PANELLING

EXPLORATION 2

CONTOUR + EXTRUDE

RIM AINST DINGS

FINAL DESIGN

PERFORATIONS

FLIP CONTOUR + EXTRUDE + CULL PATTERN

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exploration 1. panelling Specie 1 Triangulation Creativity *** Aesthetics/ complexity *** Ease of fabrication **** Design flexibility ** Interactiveness **

Specie 2 Hexagons Creativity **** Aesthetics/ complexity *** Ease of fabrication *** Design flexibility **** Interactiveness ***

Specie 3 Varying Quads Creativity * Aesthetics/ complexity ** Ease of fabrication *** Design flexibility **** Interactiveness **

Specie 5 Diamond Creativity **** Aesthetics/ complexity **** Ease of fabrication **** Design flexibility *** Interactiveness **** 114

We explored with panelling with the Lunchbox plugin, and managed to produce interesting shapes and forms. The main selection criteria include the creativity , constructability and its capability to allow for interaction in the space. Another consideration was the materiality of the panels and how it could relate with the function of the site. Although the joints were easy to fabricate,the disadvantages of panelling was that the soundwaves was not obvious and we felt slightly limited by the regularity of the design.

Specie 4 Wavy Creativity **** Aesthetics/ complexity *** Ease of fabrication * Design flexibility **** Interactiveness ***

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initial proposal Sketch of panels joined by tabs

Fig.5- Stained glass in the middle of the panel- increases in size as canopy gets further away from sound stage

Sound stage/ performance area

Fig. 6-Sound absorbant material - increases in size as canopy gets nearer to sound stage

Elevations of proposals.

116

The initial proposal stemmed from specie 5, where we explored the idea of the transition of panelling materials from sound absorbant material ( to improve sound quality of the space) to stained glass ( connection to the surrounding Gothic architecture). The design is based on a base surface that is intended to start as a canopy, which morphes with the ground plane to form structural (columns) and non-structural (seatings) elements of the design.

Scripting process BASE SURFACE

SURFACE DIVIDE

DECONSTRUCT POINT ADDITION

REFERENCE SURFACE

SURFACE DIVIDE

DECONSTRUCT POINT

DIVISION

INTERPOLATE CURVE

LOFT NEW SURFACE

The advantages of this technique is that a panelling allows for easier joints to be fabricated (eg. tabs & bolts) while creating a complex surface by changing the size of panels. However, we felt limited by the regularity and modularity of the design which was restricted to the shape (eg. hexagon, diamond).

BASE SURFACE

NEW SURFACE

REFERENCE SURFACE

We tried to compensate by averaging the lofted surface to a reference surface which morphes with the ground plane to result in a more complex overall form. However, the main problem was that the soundwaves was not obvious, thus it was deviating from the original concept. We decided to strip the panelling and return to explore the original idea of the lofted surface itself which clearly showed the soundwaves.

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exploration 2. perforations TRIM SURFACE Specie 1 Surface divide Creativity * Aesthetics/ complexity ** Ventilation *** Design flexibility * Spatial quality *

Specie 2 Attractor points Creativity ** Aesthetics/ complexity ** Ventilation ** Design flexibility *** Spatial quality ***

Specie 3 Image Sampling Creativity **** Aesthetics/ complexity *** Ventilation *** Design Flexibility * Spatial quality *** Abbotsford Convent

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Sacred Heart

Specie 2.1 Attractor points + Extrusion pipes Creativity *** Aesthetics/ complexity ** Ventilation *** Design flexibility * Spatial quality *

Specie 4 Curve Attractor Creativity *** Aesthetics/ complexity *** Ventilation ** Design flexibility **** Spatial quality ****

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exploration 3. sectioning Specie 1 Extrusions Creativity *** Aesthetics/ complexity ** Constructability *** Design flexibility **** Spatial quality ****

Specie 2 Density Creativity *** Aesthetics/ complexity ** Constructability *** Design flexibility **** Spatial quality *

Specie 3 Waffle Grid Creativity *** Aesthetics/ complexity ** Constructability **** Design flexibility * Spatial quality *

120

Specie 4 Strips Creativity *** Aesthetics/ complexity *** Constructability Design flexibility **** Spatial quality ****

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exploration 4. sectioning variation

Specie 5 Extrusion- widths Creativity *** Aesthetics/ complexity ** Design flexibility ****

Specie 6 Extrusion- length Creativity *** Aesthetics/ complexity ** Design flexibility ****

Specie 7 Culling Extrusions Creativity *** Aesthetics/ complexity ** Design flexibility **

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selection criteria After experimenting with different components and compositions of designs, we decided that our final design would be a composite of a canopy and sectionings. Their features include: CANOPY - the base surface lofted from the combination of soundwaves - made from transparent material to allow light penetration - added perforations for increased acoustic quality of the space SECTIONS - formed from the inversion of the set of curves from soundwaves - extruded into different sizes at different parts of sectioning to increase the sense of dynamism - merges with the ground to form a 1:1 scale experience for the visitors, enhancing the main concept of walking through sound

SELECTED ELEMENTS ROOF CANOPY Specie 4 Curve Attractor Creativity *** Aesthetics/ complexity *** Ventilation ** Design flexibility **** Spatial quality ****

SECTIONS Specie 5 Extrusion- widths Creativity *** Aesthetics/ complexity ** Design flexibility ****

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concept refinement

By inverting the curves of the soundwaves, we prod

Combined with the linearity of the site, we fu

- a unique experience of sound and m

124

duced an interesting set of curves with peaks and troughs.

urther strengthened the concept of our design project

music appreciation by walking through sound.

125

126

final concept

127

final design. logic flow

PERFORATIONS

BASE SURFACE

SECTIONING

SEATING

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TRIM SURFACE

PERFORATING THE SURFACE

POPULATE GEOM. (FLATTEN)

CIRCLE + PROJECT

PULL 129

final design. logic flow SECTIONING & CULLING

FLIP

CULL ITEM

We culled out a few of the curves and moved them down to act as seats. Nonetheless, we had to further tweak their shapes in Rhino to suit the basic requirements of sitting and standing heights.

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SWEEP 1

SCALE

TRIM

LIST ITEM (3) + RECTANGLE (DIFF SIZES)

PERP. FRAME

Cross sections 0.30

0.30

0.40

0.30

0.40

1.30

A 0.30

We manipulated the size of the sections and ensured that the sections in the middle are not too thick so it would not form a visual obstruction, while adding variety to the design.

B 131

site plan

132

plan

133

134

sections

SECTION A-A 135

136

SECTION B-B

137

C 138

SECTION C-C 139

FUNCTION & USE. sectioning - visualisation of sound - tangible sound

main performance + seating - stage area for theatre - seating for performances

music studio - open space studio - promote music creation - provide space for public to make music & share musical interests

backstage + technical area - technical area for theatre, sound quality and lighting - storage for equipment - backstage space for performers

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perforated roof - increase quality of sound in space - prevent reverberation of sound

main access - open new access from carpark - creates linear entry into site - strengthen idea of walking through soundwaves in a linear direction

catering + bar - area for food stalls - bar for drinks & food - kitchen area for food delivery & services

gallery space - gallery for exhibition - multi-function studios

141

142

user experience

143

144

music appreciation

145

146

night scene

147

c.2 t e c t o n i c elements & prototypes

148

material & fabrication Once we finalised our design in Rhino and Grasshopper, we went to develop further the design in terms of its constructability in reality and it represented as a physical scaled model. Different joints were considered and chosen according to selection criteria. We also decided that we would make the overall design within the site context instead of just part of the design. This is because the repetitive effect of the sections as well as the fluidity of the canopy can only be shown if the design was to be built as a whole. Materiality and methods of fabrication for the canopy was the main concern as it is not a developable surface which can be flattened. Thus, we would not laser cut it simply in 2D form and had to think of other ways we could manipulate a 2D form into a doubly curved surface. The main criteria of our prototypes being: the canopy must by of transparent material, and the sections must be of wood material. It has been agreed at the early stages that the sections would be laser cut in MDF. In the end, we decided to test two methods of fabricating the canopy - machine fabricated by vaccum forming, and manually shaped by heat forming. These two techniques produced different results with respective advantages and disadvantages. It was also extremely interesting as we were involved in both machine and human fabrication methods, and could easily compare the outcomes. Nonetheless, it was an enriching experience of exploring "digital materiality", while identifying its capabilities and limitations in terms of our design project. 1 1 Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture, 1st edn (London: Routledge, 2014), p.5.

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assembly - joints between sections The sections are a steel-timber composite which spans approximately 12m across the courtyard. Considering the limitations of timber in terms of length, we decided that the sections would be divided into two parts connected with an interlocking joint in the middle.

STEEL-WOOD COMPOSITE

150mm Galvanised steel core

Wire in cable anchor Wire trunk

Laminated laser cut wood from sustainable sources

Bulb holder screwed to wire trunk Low energy LED bulb

150

SECTION ASSEMBLY PROCESS

150 MM STEEL CORE SECTIONS - fabricated and label in automated production in factory - galvanised for corrosion resistance

WELDED 150 MM STEEL SECTIONS - welded on site to give continous span and for load transferance to ground and building joints

CUSTOM CUT WOOD PANELS - laminated together to give thickness of 75mm - bolted to steel core sections - screws concealed using brown plaster

INTERLOCKING JOINTS - interlocking wood sections allow for wood panels to join togeather giving smooth, uninterrupted wood surface

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assembly -canopy to section joints We discussed several ways in which we would attach the section to the canopy. We decided that we wanted the bolted rod joint as it maintains the continuity of the sections better than the tab joint. After the final presentation, we also added in ways in which the section will be connected to the wall as well as the ground. As the sections are load bearing and structural, bolts used must be of high strength to secure the sections in place to allow adequate load transfer to occur.

BOLTED ROD JOINT (selected joint) We went to Bunnings to search for the joints available. We found the exact rod joint that we wanted. The sizes might not be exact this proves that this joint exists and can be fabricated.

TAB JOINT 152

section to wall / ground HIGH STRENGTH STEEL BOLTS

150MM GALVANISED STEELCORE

75MM LASER CUT TIMBER PANEL

LASER CUT TIMBER PANEL

10x CAST IN BOLTS TO STEEL CORE 500MM CONCRETE BASE

Fig.7

There are many other options of connecting timber sections onto the concrete ground. The connection on the left in Fig.7 shows a typical steel plate connection which would be easier to install, but the one on the right eliminates the steel plates so as to create a seamless finish from the top. The choice of connection would also depend on the cost and the time frame for construction on site.

153

feedback - timber material One of the given during the interim presentation was that we could consider using only timber as the main material for the sections. Following this, we did some research regarding the use of timber and how it could be bent. After research, we considered the use of steam bent timber. Benefits of this method include maintaining the strength of timber due to cross grain and its economic value. The typical process of steam bending: 1. Selection of timber - preferably hardwood with high moisture content 2. Steaming/ soaking process - cuts of timber are steamed in boxes under controlled temperature (commonly 100 degrees Celcius) / soaked in water to make them more pliable 3. Bending - timber shaped into desired form with clamps & straps. 4. Post-bending - shaped timber is left to cool & set, typically for couple of days. 1

154

Fig.8 - Steamed bent timber beams Fig. 9 & 10 - Example of steamed bent timber beams in residential and commercial projects, used at a large scale.

Examples of companies which offer bespoke timber steam bending in Victoria include: - Australian Architectural Hardwoods-http://www. aahardwoods.com.au/ - Vicbeam - http://vicbeam.com.au/ - Dale-glass industries -http://www.dgi.com.au/ - The Timber Benders - http://timberbenders.com.au/ Suitable timber for bending include Blackwood, Celerytop, WA Karri, NZ Kahikatea and Spotted Gum, preferably air-dried rather than kiln dried as lower moisture content will increase the difficulty of it being bent. 2 Nonetheless, there has been multiple examples of bent Glulam timber used in Australia, thus proving this method feasible at a large architectural scale such as our design.

1. International Timber, "Steam Bending Wood", (2015), <http://www. internationaltimber.com/news/timber/steam-bending-wood--how-does-it-work->, [accessed 3 June 2017]. 2 Timber Benders, "Suitable Timber", (2017), <http://timberbenders.com.au/timbersbent-and-shaped-to-order/suitable-timber/>, [accessed 3 June 2017].

The most significant limitation of this method is the chord length of the beam should increase according to the curve radius. This means that it might not be possible to fabricate a narrow / steeply curved timber apparent in some sections in our design. Thus, if this method was to be adopted, our design would have to be tweaked to satisfy the minimum requirements of the specific manufacturer/ fabricator. For example, Figure x shows the minimum beam size as well as chord length required by Hyne & Son Pty Ltd operating in Maryborough, Queensland.

steel & TIMBER advantages - High strength to weight ratio - Longer spans can be achieved - Durability

disadvantages - more expensive - requires skilled labour & fabricator to weld members together on site, increases labour costs - site welding creates safety issues for workers on site - might involve heavy lifting including cranes, props and riggers

Fig. 11 - Table of capabilities of curved beams & terminology.

curved glulam timber advantages - Environmental - can be recycled timber/ timber sourced from sustainably managed forests & plantations - very adaptable to offsite manufacturing - generally cheaper than steel & timber composites - lightweight & offers simpler handling processes

disadvantages - have to source specialised fabricators for bending timber (eg. steam bent timber) - External exposure to rain and weathering might cause decay -Must be chemically treated - Durability - surface checking & discolouration might occur due to retention of increasing amounts of moisture - design might change due to constraints of mateiral property 155

test prototype. sectioning MATERIAL : 3,0mm MDF FABRICATION TECHNIQUE: Laser Cut ASSEMBLY: By hand At first, we laser cut in the sections from our earlier exploration (page x) to look at the effects and how our soundwaves would be projected. The material used was 3.0mm MDF.

600.00

The outcome was really flat and not what we intended the design to be. It did not show the soundwaves well and did not look interesting as well. This prototype motivated us to push our design further by going back to exploring more Grasshopper parameters to further develop our design.

900.00

lessons

156

From this prototype, we figured that we should increase the extrusion of the sections to exaggerate the peaks while making the canopy. This is to further show the distinct qualities of the soundwaves. At the later stages in the design phase, this we decided to invert the soundwaves further to make a different variation of troughs and peaks (pg. 130) as this prototype did not match what was intended my our concept.

prototype #1. vacuum forming After consultation with staff at the Fab Lab, our first attempt to recreate the canopy was to use the vaccum forming method. This technique invovles a plastic sheet being heatied until soft and pushing a mould onto it. The vacuum is then turned on and sucks the sheet onto the mould. The sheet can then be ejected from the mould. The main disadvantage was the forming area which was limited to 482mm x 432mm, and thus we had to cut our mould and canopy in half.

waffle grid mould MATERIAL : 2.0mm Boxboard

Fig. 12 - 508 FS vaccum forming machine.

FABRICATION TECHNIQUE: Laser Cut ASSEMBLY: By hand

We were advised to use a waffle grid mould as it has holes which enabled the vaccum to suck air from below and shape the high impact plastic sheet. The denser the waffle grid, the smoother the resulting surface. We modelled the waffle grid in Grasshopper to ensure that the intersections of the horizontal and vertical rows were precise and reaches the mid-point of every peak. However, we did not account for the soft property of boxboard and thus we had to be delicate with the fixing process so as not to ruin the overall shape. A better material would be MDF which will not change its shape easily, thus easing the assembly process.

157

vacuum forming The vacuum forming process was quick and very effective. We tried different approaches on two parts of the canopy to test different surface outcomes: Attempt 1 - waffle grid without cloth - the soundwaves are very prominent - grid-like, doesn't create a smooth surface - peaks are very distinct Attempt 2 - waffle grid with cloth - creates an interesting inversed "catenary" at the highest peak - creates a smoother surface, but soundwaves are distorted by the placement of the cloth

First attempt without cloth: Hard to remove plastic from mould.

CHALLENGES: We had to make sure that the plastic was heated to the suitable malleable state which will shape nicely according to the mould, but not show as much of the waffle grid. This was tricky as we could only rely on experience and tests to determine the correct heating duration. LESSONS: We forgot to eject the plastic on the first attempt. The vacuum release function is supposed to force air in between the mould and the sheet to enable easy detachment. Thus, we faced difficulties removing the shaped plastic sheet from the mould. We faced no difficulty with the second attempt by releasing it before we removed it from the machine. The moulds were removed and the plastic was cut to shape with a band saw in the machine workshop. As we wanted a high quality finish to our model, we then proceeded with finishes by sanding and waxing the edges to give a clean edge.

First attempt. 158

Second attempt with cloth: "Catenary" shape formed.

Second attempt.

finishing touches VACUUM FORMING PROCESS

Mould placed at the bottom. Heating of high-impact plastic sheet at the top.

Once plastic is soft, the heater is pulled away and a lever is pulled which pushes the mould against the plastic sheet.

Moulded plastic is cooled down with pressurised air. It is then ejected and removed from the mould and the machine.

CUT TO SHAPE + FINISHING

Excess sheet cut away with a band saw.

Sandpaper used to smoothen the edges.

Edges then waxed with a rotary buffer machine. 159

prototype #1. results

160

161

prototype #2. heat forming The second attempt to recreate the canopy was through manual heat forming. This was a risky technique as there were multiple factors which might detriment the quality and the accuracy of the prototype. For example, the amount of heat supplied to the plastic, the extent of moulding the sheet onto the mould, etc. Nonetheless, we were able to experiment with CNC (computer numerically controlled) fabrication when creating the mould.

cnc milled mould We decided to use a CNC miller to cut out the negative portion of the canopy. to form a mould. The main benefit of heat forming was that perforations could be added to the canopy. The canopy material was a 2mm polypropylene laser cut with two types of perforations as designed in Grasshopper.

MATERIAL : 2mm Clear Polypropylene FABRICATION TECHNIQUE: Laser cut ASSEMBLY: Heat gun

LIMITATIONS: The material used for CNC - Styrodur, was only provided in a maximum depth of 75mm. Thus, the peak of our design was constrained and could not exceed this height. Luckily the model at 1:100 scale could be fitted just right into the Styrodur material and thus we did not need to make any adjustments.

945.00

"Negative" portion of the lofted waves positioned strategically within the Styrodur material

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Laser cut template for the perforations on the 2mm clear polypropylene.

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MATERIAL : 75mm Styrodur FABRICATION TECHNIQUE: CNC milling, Foam cutter ASSEMBLY: By hand

We sent two versions of the lofted soundwaves to the CNC Router, and it produced very precise and accurate results that we were extremely satisfied with. We then proceeded to cut the moulds with the foam cutter to obtain the actual area of the canopy.

Completed CNC mould.

LESSONS: This mould was much more accurate as compared to the waffle grid mould which lost its accuracy due to the holes in between and during the process of assembly. This outcome showed us the benefits of the digital fabrication process where machines could produce what is exactly modelled up to the accuracy of a single millimeter.

Removing the edges with a foam cutter.

Peaks and troughs very detailed and defined.

Trimmed CNC mould. 163

heat forming process The heat forming process was a simple heating and moulding process that we wanted to explore with the perforated polypropylene. It was done with a Ryobi 2000W Corded Heat Gun in an external environment. ISSUES & RESOLUTIONS: - the heat produced by the heat gun was not as hot as expected, thus a long time was needed to heat the plastic until it was soft. - the heat gun will melt the Styrodur slightly, thus baking paper was laid underneath the polypropylene sheet to avoid destroying the mould. - bubbles were formed in the sheet where heat is supplied for a longer period of time, thus care had to be taken to ensure consistent heat supply.

1. Laying polypropylene on top of CNC mould

Compared to the vacuum forming technique, this manual heat forming method was much more time and energy consuming. The accuracy of the final shape to the mould was also subject to the amount of force applied onto the material and the degree to which the material was heated, thus producing less consistent results. However, we were able to mould it instictively according to our preference of its aesthetics. This relates to Charny's idea of craftsmenship and "making", where crafting is a skill that can be used to experiment and open up future possibilities and challenges. 1 2. Heating the polyprolylene until soft 1 Daniel â&#x20AC;&#x160;Charny, Power Of Making, 1st edn (London:V & A Museum, 2011), 34.

Fig. 13- 2000W Ryobi Heat Gun.

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3. Pressing & moulding heated sheet

comparing techniques

heat forming

advantages

vacuum forming

advantages

- Perforations can be made on surface by

- Produces very accurate results

laser cutting

- Consistent and even heating to material

- A smooth surface can be created

- High quality finish with no damage to

- Enables change & manipulation of design

material

during the shaping process, relates to the

- Fast and effective process, no manual

idea of craftsmenship

work required

disadvantages

- Less accurate results

- High accuracy might cause issues such as

- Peaks and troughs dependant on the heat

show deficiencies in the mould

supplied and the force applied onto the

- No smooth surface can be produced

material

(unless mould is 3D printed)

- Energy and time consuming

- Perforations cannot be made on

- Sheet material prone to damage if too

the surface as sheet material used is

much heat is applied

standardised

165

prototype 2. results

After much consideration, we decided that we would use one of the heat formed proto the main features of the roof canopy, which are the perforations, peaks and troughs, in a

and would fit into the 1:100 s

166

otype for the final model. Although it is completely accurate to the CNC mould, it shows smooth, continuous manner. It is a wholistic outcome which embodied our main concept

scale context of the final model.

167

c.3 f i n a l detail model

168

strategy After testing with various material and fabrication techniques, we finalised the strategies that we would use to produce the final model, that is heat forming the canopy, and laser cutting the various sections in MDF. Since our design within the site is relatively big (approximately 12m x 70m), we decided that we should make a 1:100 scale model of the design as well as the site. Building the site model was important to our project as our design is attached to the grounds of the courtyard and has connections to the surrouding buildings. Thus, a physical representation of the site is needed to fully show our design as a completed whole. The site model was also needed to prove how our design "stems" from the site itself while showing how it relates and fits in term of the site context. 169

final model - process

CANOPY The second prototype from the heat forming process was used for the final model. We proceeded to cut it to shape with a band saw and sanding the edges to obtain a smooth finish.

SITE + BUILDINGS A 5mm white formcore was used for Surrounding buildings were modelled 1mm Mountboard. We had to further acrylic paint due to the burnt marks o laser cutting machine. We decided tha would complement the design by prov attention away from the actual design

170

SECTIONINGS The sections were laser cut from 2mm MDF material and labelled with numbers to ease the assembly process.

the base of the site model. in Rhino and laser cut from white spray paint the buildings in white on the Mountboard as a result from the at the white theme for the site model viding it with context, while not taking itself.

ASSEMBLY The laser cut sections were glued on to the site model. This process was very fast and efficient as we already had all dimensions and spacings available in our Rhino model of the design. 171

photo documentation about physical models

After finishing the model, we took photos of it in the photo booth at the Fab Lab. We realised that lighting was crucial in taking good photos, and thus spent quite some time testing the lighting intensity and the degree of warmth before we got the effect that we wanted. All photos were taken with a Canon camera to ensure high quality close-ups and the sharpness of the photos. We were extremely satisfied with the outcomes. The photos showed us that good models could also render the user experience of the design as good as the digital renders. This shows that physical models are still relevant in this technological era to help better inform designs while contributing to the thinking process while designing.1

1 Daniel Charny, Power Of Making, 1st edn (London:V & A Museum, 2011), 34.

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Final model photo gallery

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linea

view fro 174

arity.

om entry 175

dynamism, roof canopy

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variety. perforations

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plan view

elevation

elevation close-up 179

function. seating spaces 180

potential night scene

from afar

lighted sections

interior night scene

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structure. sections close up 183

renewed app

music.cultur 184

preciation.

re.community 185

c.4 learning objectives & outcomes

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feedback. future outcomes. The feedback from the final presentation were mainly regarding the constructability of our design due to its large scale and our selected materiality. The questions posed and our proceeding resolutions and research are listed as below: 1) How will the canopy be fabricated in reality? This was an important consideration as the canopy was one of the main features of our design. Through consultation with Matt, we decided that the canopy could possibly be a plastic sheet moulded and fabricated in the factory, and if there are limitations to material and size, it would be cut up to roughly 8 panels spanning 12m- 16m EastWest and spanning around 9-10m North-West. These panels would then be bolted on to the sections with a rod joint (Pg.152). Nonetheless, the fabrication of this panel would rely heavily on the skill of the fabricator as well as the budget for the project as this would be a costly process. 2) Instead of using a steel and timber composite for the sections, why not just use timber alone? We had considered the use of timber, however, steel was always perceived as a stronger material for such a large span and to support the weight of the canopy as well. Nonetheless, we did extra research regarding timber beams and how it could be bent. This research was later added on into this journal in pages 154 and 155.

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3) Sections provided were unclear and does not show roof lines. We redrew another section in cutting diagonally across the design to show the sectionings better (refer to page 138). The first section was unclear due to the horizontally of the sections. Roof lines were accentuated to show its relation to the sectionings and the buildings. 4) How much did we tweak from the form created by the original Grasshopper definition, to achieve the final design? This was a challenging question as we did Grasshopper and Rhino manipulations simultaneously throughout the designing process. Nonetheless, I would say that most of our design originated from Grasshopper with only minor tweaks in Rhino. For instance, we needed to tweak the positions of the sectionings in relation to the surrounding context in Rhino to form spatial allocation for spatial functions (such as the stage area) and to form seatings which were suitable for human habitation and to maximise comfort. In addition to the feedback, we also discussed amongst ourselves the aspects in which we could have improved over the past 4 weeks in Part C. One of them included making a 1:1 scale prototype to look at the sections in relation to the human scale. Moreover, it would be useful as well to use Grasshopper plugin - Karamba, to analyse the sectioning structure and its strength, while Ladybug could be used to identify more site opportunities and constraints. Nonetheless, we were satisfied with the concept and core ideas put forward in our design proposal.

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final thoughts The past 12 weeks in Studio Air has been a whirlwind of thoughts, challenges and workflows, starting from me learning basic Grasshopper components and data trees, to creating a algorithmic script for the final design proposal. Looking at my final project outcomes and the knowledge I have gained over the semester, I feel that I have indeed been through a very steep learning curve where I was exposed to a whole new field of algorithmic and parametric design,as well as its processes and workflows My group's use of new digital fabrication techniques in the final design was also an eye-opening experience as it exposed me to a whole new realm of digital fabrication which is now at the forefront of architectural discourse. My learning outcomes for this subject can be summarised acording to the subject objectives as listed below: Objective 1. “interrogat[ing] a brief ” by considering the process of brief formation in the age of optioneering The concept of soundwaves from our final project in Part C was primarily based on the brief and the clients. The requirements of the brief (eg. a performative area) played an important role in determining the parameters of our design as they pose restrictions and constraints which were really useful to direct our ideas towards more focused concept. The brief also helped form various selection criteria for design iterations made in Grasshopper, allowing us to choose the ones that would complement the site and suit the needs of the users the most. Objective 2. developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration This objective was mainly achieved in Part B and Part C through making iterations of existing and newly derived designs. Grasshopper and its plugins showed me the plethora of design possibilities that could be derived from a base concept or sketch design. It enabled me to constantly review my design in Part C and continue iterating it to produce better and more satisfying outcomes. Iterating designs using algorithms and number sliders in Grasshopper also enables new and interesting design forms to be created with ease, thus enabling me to push my designs further, even within a short timeframe in Part C.

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Objective 3. developing “skills in various three-dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication; In Part B, I explored the Kangaroo plugin in Grasshopper which enabled me to create different geometries and forms computationally. Personally, I found Kangaroo very interesting as forces could be applied to forms and visualised in real time, making a significant impact on the form finding process in architectural design. While creating the design in Part C, we also had to take into consideration its fabrication, and thus while designing, we were also resolving joints and fabrication techniques at the same time, creating this two-way workflow which was really effective. Although I have been exposed to digital fabrication before, I got to explore new fabrication techiques such as vacuum forming and CNC milling with the final project. The high degree of precision and detail achieved by machines was indeed to me a pleasant surprise, further inspiring me to search for the newest digital fabrication techniques that I could incorporate in my future design projects. Objective 4. developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere; This is most apparent in our final project where we intended our design to occupy the entire "atmosphere" within the courtyard at Abbotsford Convent. While designing the sections, it was crucial for us to take into account the visual connections and spatial circulation within the courtyard, and to optimise those aspects according to the main concept. Our final physical model were also intentionally built within the context of the site to depict its relationship to the surroundings and the general atmosphere and experience it generates. This also depicts notions of "design intellegence" where as designers, we aim to address the "futuring potential" of the design by taking into account its impact and contribution to the site and the users in the long run.1 Objective 5. developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse. Throughout the semester, I have been looking at precedents and historical buildings to analyse their use of parametric design tools and how algorithmic logic could be incorporated in architecture. For instance, in Part C, precedents for our final project depicted the use of data to inform and visusalise the design which helped to strengthen our design direction and argument. The case studies in Part B further exposed me to the many other arguments for the use of digital design that were used to meet contemporary needs. Objective 6. develop capabilities for conceptual, technical and design analyses of contemporary architectural projects; This objective was achieved in Part A where I analysed different case studies to understand their design logic and reasons behind the use of parametric modelling. I came to understand that the use of algorithmic design needs to be backed up by a strong design intent and purpose that will drive the design direction. This understanding helped us develop our workflow better in Part C by identifying our concept first, then proceeding with methods of realising the concept through digital means. 1 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p.12.

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Objective 7. develop foundational understandings of computational geometry, data structures and types of programming; My skill in parametric modelling has improved so much since the beginning of the semester and this is apparent in the final model as well as my sketchbook. Most importantly, I was able to realise an idea in Grasshopper easily in Part C with my accumulated Grasshopper knowledge, and was pleased with the fast progess that we made throughout the scripting process. My understanding of Grasshopper also improved by sharing ideas with groupmates as well as helping other cohorts to resolve problems they encountered in the designing process. Objective 8. begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application. Our primary method of converting data (sounds) into design using the Firefly plugin, and translating that into a design according to our concept, was a major milestone that I am proud of achieving in this subject. With this final project as a starting point, I am sure that I will return to Grasshopper again in my future design studios to realise my ideas and concepts, and develop them further with algorithmic logic. In conclusion, Studio Air exposed me to the whole new realm digital design and led me to realise its importance as a driver of change in the architectural discourse of the 21st century. I feel that I have had a grasp at what the "autopoiesis of architecture" is, as described by Schumacher in Week 1's readings, through being involved in the various processes such as sketches, drawings, parametric modelling, scripting and physical modelling. 1I understand that my knowledge on algorithmic design is still at an amateur level, and thus will need to continue to expose myself to new contemporary design techniques and fabrication methods in order to improve in the design industry. Nonetheless, this studio taught me how to look at projects with a critical eye, to push boundaries in terms of design forms and fabrication with the aid of algorithmic tools, to be patient with Grasshopper while understanding its limitations and logic and how to work well in groups, with communication and cooperation as the key. I am sure these are lessons which I will carry forward not only into my future design studios, but also my future work after I graduate. Last but not least, a big thank you to my amazing groupmates Jaime and Tat for the cooperation, motivation and many sleepless nights, to my tutor Matthew for your patience and guidance, and to the subject coordinators for the splendid resources and many given opportunities to learn.

1 Patrik Schumacher, The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley,2011), p.2.

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BIBLIOGRAPHY Charny, Daniel, Power Of Making, 1st edn (London:V & A Museum, 2011), 34-36. Dr. Gideon Aschwanden, Lecture 9, ABPL30048 Architecture Studio Air, University of Melbourne, 2017. Fry, Tony. 2008. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), 1–16. International Timber, "Steam Bending Wood", (2015), <http://www.internationaltimber.com/news/timber/ steam-bending-wood--how-does-it-work->, [accessed 3 June 2017]. Oxman, Rivka and Robert Oxman, Theories Of The Digital In Architecture, 1st edn (London: Routledge, 2014), 1-10. Refik Anadol, "Virtual Depictions", (2015), <http://www.refikanadol.com/works/virtual-depictions-sanfrancisco/>, [accessed 3 June 2017]. Schumacher, Patrik. 2011. The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), 1-28. Soundwaves (7), "Past Events", (2017), <http://soundwavesf.com/7/>, [accessed 3 June 2017]. Timber Benders, "Suitable Timber", (2017), <http://timberbenders.com.au/timbers-bent-and-shaped-toorder/suitable-timber/>, [accessed 3 June 2017].

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IMAGE REFERENCES 1. Abbotsford Convent, "Photo Gallery", (2017), < http://abbotsfordconvent.com.au/about/photo-gallery>, [accessed 6 June 2017]. 2. Refik Anadol, "Virtual Depictions", (2015), <http://www.refikanadol.com/works/virtual-depictions-san-francisco/>, [accessed 3 June 2017]. 3. Soundwaves (7), "Past Events", (2017), <http://soundwavesf.com/7/>, [accessed 3 June 2017]. 4. Google Maps, "Abbotsford Convent", (2017), < https://www.google.com.au/maps>, [accessed 3 June 2017]. 5. Kirei, "Echopanels panels", (2017), <http://kireiusa.com/echopanel-acoustics/echopanel-panels/>, [accessed 3 June 2017]. 6. Shuttlestock, "Stained glass", (n.d.), <https://www.shutterstock.com/image-photo/stained-glass-windowcolored-128121989>, [accessed 3 June 2017]. 7.Vermont Timber Works, "Post Bases", (2017), < http://www.vermonttimberworks.com/learn/timber-frame-

joinery/post-bases/>, [accessed 3 June 2017]. 8. Australian Architectural Hardwoods, " Steam bending", (2017), < http://www.aahardwoods.com.au/ productsfabricated-products/steam-bent-timber>, [accessed 3 June 2017]. 9 & 10.Vicbeam, "Projects", (2017), <http://vicbeam.com.au/project>, [accessed 3 June 2017]. 11. Hyne Timber, "Curved Beams", (2017), <http://www.hyne.com.au/solutions-centre/architects-anddesigners/curved-beams>, [accessed 3 June 2017]. 12. Formech, "Formech 508FS", (2017), <http://formech.com/product/508fs/>, [accessed 3 June 2017].. 13. Ryobi, "2000W Heat Gun", (2017), <http://www.ryobi.com.au/products/details/2000w-heat-gun-dual-temp >, [accessed 3 June 2017].

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