STUDIO AIR
2018, SEMESTER 1 TUTORIAL 1, JACK WONG SI NGA (EMILY), 813823
2
CREITERIA DESIGN
Part B. Creteria Design
CRITERIA DESIGN
3
4
CONCEPTUALISATION
B.1 RESEARCH FIELD Patterning Patterns are the fundamental form for interior, architectural, urban and landscape design. The application of patterning could be perforating or transforming a series of repeating units, identical or similar objects or geometries and, thus, creating a system or program for the design. Through patterning, the basic geometry could be evolved into many different complicated geometries, in order to create different spatial qualities. From the past, patterns were largely influenced by religion, geometry, mathematics, arts and crafts. They were considered as a style or decoration of the buildings. However, the evolution of the digital technology and programming techniques in the present allows designer to create, expand and explore patterns that become more dynamic and innovative in the aspects of spatial qualities, functions and types. Furthermore, the patterning in the contemporary architecture achieves better qualities in cultural, material and structural performance. As a result, it exceeds its limitation merely as a style and decoration, but the spatial design with a more inconspicuous quality.1
1. Mark Garcia, ‘Patterns of Architecture’, Architectural Design, 79, 6(2009), 6-17.
5
CRITERIA DESIGN
CONCEPTUALISATION 5
6
CONCEPTUALISATION
B.2 CASE STUDY 1.0 Herzog de Meuron, de Young Museum De Young Museum, designed by Herzog de Meuron, experimented the quality of material and different patterns generating different spatial quality. It is famous for its design of the façade. The metal façade was made of two techniques: perforation and extrusion. Copper was chosen for its material of the façade, as the colour of it will gradually become green by oxidation and, thus, will be merged to the natural surroundings harmoniously. The idea of the perforated panels was inspired by the light filtering from the actual trees. The photos of the tree canopies from the surrounding park were used to transform the abstract patterns into the panels of ‘dimples and pimples’ through the algorithmic system. Thus, the design team has created 7,200 unique panels for the exterior of the museum.
Fig.1 Shape of tree canopy
2. Adelyn Perez, ‘M.H. de Young Museum/ Herzog & de Meuron’, ArchiDaily (ArchiDaily, revised
June
2010)
<
https://www.archdaily.com/66619/m-h-de-young-museum-
herzog-de-meuron > [26 March 2018]
3. Sally B. Woodbridge, ‘The de Young Museum Revisited’, Robin Chiang & Co (Robin Chiang & Co, revised 2018) < http://designbythebay.com/de-young-museum/> [26 March 2018]
Fig.2 Perforation and extrusion
CRITERIA DESIGN
7
B.2 CASE STUDY 1.0
SPECIES 1 IMAGE SAMPLING
SPECIES 2 IMAGE SAMPLING domain start: 0.05 domain end: 0.19 number of segment u=30 number of segment v=20
domain start: 0.05 domain end: 0.17 number of segment u=34 number of segment v=18
SPECIES 3 EXTRUSION
z=0.1
8
CRITERIA DESIGN
z=0.4
domain start: 0.15 domain end: 0.17 number of segment u=34 number of segment v=18
domain start: 0.09 domain end: 0.00 number of segment u=50 number of segment v=50
domain start: 0.09 domain end: 0.00 number of segment u=50 number of segment v=50
z=0.5
CRITERIA DESIGN
9
B.2 CASE STUDY 1.0
SPECIES 3 EXTRUSION
z=1
z=range domain: (-5)-5 no. of step = 80
SPECIES 5 EXTRUSION SHAPE
top radius= 0.45 bottom radius=0.06
SPECIES 6 COMBINATION
10
CRITERIA DESIGN
top radius= 0.27 bottom radius=0.24
z=random n=23 seed=9
top radius= 0.37 bottom radius=0.07
z=random n=37 seed=55
top radius= 0.45 bottom radius=0.41
z=random n=56 seed=16
radius=0.59
CRITERIA DESIGN
11
B.2 SELECTION CRITERIA
AESTHETICS Is the form of the structure interesting? SPATIALITY Does the structure have variation in scale and height to form greater spatial quality? COMPLEXITY Does the design create complex structure, spatiality and elements? CONSTRUCTABILITY Is the structure easily fabricated?
12
CONCEPTUALISATION
B.2 SUCCESSFUL ITERATIONS
AESTHETICS
++
SPATIALITY
++
COMPLEXITY
++
CONSTRUCTABILITY
++++
AESTHETICS
+++
SPATIALITY
+++
COMPLEXITY
+++
CONSTRUCTABILITY
++++
AESTHETICS
+++
SPATIALITY
+++
COMPLEXITY
+++
CONSTRUCTABILITY
++++
AESTHETICS
+++
SPATIALITY
++++
COMPLEXITY
++++
CONSTRUCTABILITY
+++
This iteration has changed the image for image sampling. By increasing the desity of the base geometry and the redius of the them, the tree image is successfully shown.
This iteration has changed the heights of the of the extrusion of the circles by using random. It created different height and direction for the cones, which provided the best variation in the spatial quality among the iterations in species 3.
This iteration has changed the heights of the extrusions of the circles and increased the radius of the top and bottom circles. The larger scale for the circles and the identical size for the top and bottom radius of the circles increase the desity of the extrusion. It also creates the gradually increasing and decreasing of height of the cone.
This iteration has changed the size of the circles and the height of the extrusion, as well as adding the extrusion for the perforation, which add on the complexity of the structure. The extrusion also shows the image sampling clearly, while the cone creates variation in height and spatial quality.
CONCEPTUALISATION 13
Fig.3 Dior Ginza 14
CRITERIA DESIGN
B.3 CASE STUDY 2.0 Office of Kumiko Inui, Dior Ginza The Dior building is successful in representing its identity by putting its famous handbag pattern on the façade. The use of parametric design, eg. Image sampling, fastened the design process, and allowed to experiment and achieve different effects and scales for the patterns. The perforated aluminum panels provided accuracy in production and construction, as well as the future reuse of the panels. While the project is successful in representation, it fails to experiment the material effect and texture for the façade and the variation of the surface. Below introduces the design of the project. The pattern design of the façade for the Dior building in Ginza Tokyo, by the Office of Kumiko Inui, was inspired by the signature pattern of the Dior handbag. The pattern wraps around the whole building, indicating the scale and the internal organization of floor levels and program. Its façade is composed of two layers. The outer layer is the white perforated aluminum surfaces, while the inner layer is a printed, with 34cm gap from the outer layer. Both layers show the trademark Dior pattern, while the scale for the inner layer is 30% smaller than the outer layer. The patterning on the façade intends to create a recognizable building in the famous shopping districts in Tokyo. Moreover, the combination of two layers, with the adequate lighting, gives the lightness for the façade when the thick and hard material is used. Also, the double screen creates the moire effect and the ghost-like feeling to the façade.4
4. Ben Pell, The Articulate Surface: Ornament and Technology in Contemporary Architecture (London: Springer, 2010), p.105.
CRITERIA DESIGN
15
B.3 REVERSE ENGINEERING
STEP 1
STEP 2
STE
OUTER LAYER
Create a surface.
STEP 1
Divide surface, the number of points in x and y direction can be changed. STEP 2
Provide an imag the pattern. The circles can be a
STEP
INNER LAYER
Create a surface.
16
CONCEPTUALISATION
Divide surface, the number of points in x and y direction can be changed.
Provide an imag the pattern. The circles can be a
EP 3
ge to create e size of the adjusted.
P3
ge to create e size of the adjusted.
STEP 4
Cut the circles out of the surface.
STEP 5
Put the outer layer on top of the inner layer.
STEP 4
Cut the circles out of the surface.
Perspective view
CONCEPTUALISATION 17
Fig.4 Dior Ginza pattern 18
CRITICAL DESIGN
B.3 COMPARISON The facade of the Dior building, created by the method of reverse engineering, has resulted in similar effect to the original building. The pattern is shown by using image sampling. Also, the different scales of the pattern on two layers are created. However, the radiuses of the circles are not well controlled, compared to the original Dior building, which leads to the unclearness of the pattern. Also, the pattern on the original faรงade is scaled to reflect the internal organization of the building, which is not achieved in the reverse-engineering. Moving towards B.4 technique development, different patterns can be explored. While the original project focused on the representation of pattern, in B.4, instead of using a flat surface, a curved surface can be use. Also, the pattern can be developed to be a 3d model.
Reverse engineer model CRITICAL DESIGN
19
B.4 Technique: Development
SPECIES 1 BASE GEOMETRY CHANGE
SPECIES 2 SURFACE CHANGE
20
CONCEPTUALISATION
CONCEPTUALISATION 21
B.4 Technique: Development
SPECIES 3 LOFT ON FLAT SURFACE
SPECIES 4 LOFT ON CURVED SURFACE
22
CONCEPTUALISATION
CONCEPTUALISATION 23
B.4 Technique: Development
SPECIES 5 LOFT GEOMETRY CHANGE
24
CONCEPTUALISATION
CONCEPTUALISATION 25
B.4 SELECTION CRITERIA
AESTHETICS Is the form of the structure interesting? SPATIALITY Does the structure have variation in scale and height to form greater spatial quality? FLEXIBILITY Is the design created by interesting surface? CONSTRUCTABILITY Is the structure easily fabricated?
26
CONCEPTUALISATION
B.4 SUCCESSFUL ITERATIONS
AESTHETICS
++++
SPATIALITY
++
FLEXIBILITY
+++
CONSTRUCTABILITY
+++++
AESTHETICS
++++
SPATIALITY
+++
FLEXIBILITY
+++
CONSTRUCTABILITY
++++
AESTHETICS
+++
SPATIALITY
+++
FLEXIBILITY
+++
CONSTRUCTABILITY
++++
AESTHETICS
++++
SPATIALITY
+++
FLEXIBILITY
++++
CONSTRUCTABILITY
+++
This iteration has mapped the circles on a curved surface. The radiuses of the circles are controlled by a attractor point. It changes following the level of the curved surface. The radius gets larger when there is a level change of the surface. It also creates coherence for the change of the overall pattern.
This iteration has changed the base geomety. By using the graph mapper to lacate the centre for the voronoi, the sizes of the geimetry has been changed gradually from left to right. It is also added the extrusion to the base geometry to generate better spatality compared to the precedent.
This iteration used pattern of the precedent, but extrusion of the circles is added to form the structure. The height of the extrusion is controlled by a attractor point. Therefore, the overall structure generate variation in the scale of the cone.
This iteration has changed the surface for the mapping of circles. The height of the extrusion is also controlled by a attractor point in the middle of the surface. Therefore, it generate grater spatality and flexibility for te structure.
CONCEPTUALISATION 27
B.5 TECHNIQUE: PROTOTYPES
PROTOTYPE 1
28
CONCEPTUALISATION
CONCEPTUALISATION 29
PROTOTYPE 2
30
CONCEPTUALISATION
CONCEPTUALISATION 31
PROTOTYPE 3
32
CONCEPTUALISATION
CONCEPTUALISATION 33
MATERIAL TESTING: CLAY
34
CONCEPTUALISATION
CONCEPTUALISATION 35
B.6 TECHNIQUE: PROPOSAL BRIEF As a group our idea of an Em(Beesy) was greatly inspired by the ideas of the Dolphin Embassy by Ant Farm, in that we believed that an embassy between bees and Humans should be exactly that: a space were bees and humans can coexist together as equals rather than just being a petting zoo for bees. The idea was also designed as a way in which members of the general public can collectively learn about the Blue Banded bee as well as other insects in the area and perhaps even vice versa. Our designs help to promote biodiversity in the area as well as the idea of encouraging the interactions between humans and bees alike.
QUALITY MATRIX In our group, we have developed five qualities for the bee embassy and five qualities for the human architecture, which provide targeting qualities to our proposals.
36
CONCEPTUALISATION
Additionally we also intend to value the lessons of Design Futuring in our designs where we seek the most optimal use of materiality in order to maximise design functionally, aesthetic appearance and minimise any damage to the environment.
CLIENT: BLUE BANDED BEES The rhizome diagram below has indicated the size, the habitation, the behavior and the life-cycle of the blue banded bees.
Apples
Oranges Tomatoes
Transparent Wings Males sleep hanging on grass
Ultraviolet vision
Flying
Insect
Lavender Fast Wing Beats
Athropod
Compound eyes
Nest Building for Eggs
Food
Flowers
Beneecal for crops Pollen and Nectar Female lays eggs in cells
Amegilla Cingulata
Vibrations Buzz pollination
Females: 4 bands Borrow Digging
Cell Tunneling
Sexual Dimorphism Males : 5 bands
Old Clay homes Woodlands
Sandstone CliďŹ&#x20AC;s
Forests
Black Abdomen Small 10mm - 12mm
Cities near owers
Indonesia
Tropical
Important for crops
Blue Bands
Mudbrick walls
Dried up river banks
eggs hatch during spring
Nest building Papua New Guinea
Solitary Bees
Australia Malaysia Temperate
Non-aggressive
East Timor
docile
Foragers
active
Hovering Sting
Darting
Rapid Movement
Blue Colours placid
CONCEPTUALISATION 37
38
CONCEPTUALISATION
POSIBLE SITE Sanctuary, Performance
-performance site -easily access by people -shaded
-performance site -next to the multi-cultural classroom
-sanctuary site -soft sand -near river -along the foot path -privacy for bees, but also asscessible for people
Map 1:5000@A3
CONCEPTUALISATION 39
B.6 PRECEDENTS FOR PROPLSALS
Dolphin Embassy
de Young Mesuem
It encourages the co-existence of human and animals for a better eco-system by creating space for the communication of human and animals.
It developed the image sampling for the pattern of the extrusion and perforation of the metal panels.
ICD Pavilion 2017
Arandalash
It developed the shell structure on a designed surface.
It developed the 3D fractal pattern.
40
CONCEPTUALISATION
POLLINATION PENESTRATION PLAN The Pollination Penetration Plan shows the potential sites for locating the bee embassy from Merri Creek to the cbd. It mapped mainly the parks and gardens along the Merri Creek and Yarra River, as it can provide water source and the flavoured plants for the blue banded bees.
CONCEPTUALISATION 41
B.6 PROPOSAL 1
EMBASSY PARK Human and Bee Interaction explored: Playfulness and Placid Our First Design is inspired by the fractal qualities of Aranda Laschâ&#x20AC;&#x2122;s primitives and the shell design from the ICD Pavillion and is designed to explore the potential uses of fractalling polygons and how each shape can serve different purposes for both humans and bees. The forms of the design is based on the most successful iterations of the Aranda Lasch primitives such as the hexagonal diamond form as the large amount of faces provided by such shapes provided many opportunities for 3 dimensional Aggregation of Modules. The design offers a versatile range of usages were aspects such as the different sized perforations in the shapes could be potentially be used as nesting areas for female bees and areas to plant flowers or areas to join other segments together. Areas without perferactions can be seen as areas that can be used by humans as such as areas for seating.
42
CONCEPTUALISATION
The design is situated next to the multicultural classroom in Ceres, this location was a performance base chosen due to its wide open public space, visibility from the Merri Creek trail, itâ&#x20AC;&#x2122;s ease of Access for the public and an adequate water source for the bees themselves. However the primary choice of location was due to the multicultural classroom itself , which promotes religious and racial tolerance and acceptance for all which greatly suits the topic of our brief.
ITERATIONS
Iteration 2
Iteration 4
Iteration 3
Iteration 1
DESTRIBUTION OF ELEMENTS
Iteration 2
Iteration 3
Bee Sector Human Sector
Iteration 4 Iteration 1
CONCEPTUALISATION 43
B.6 PROPOSAL 1 PSEUDO ALGORITHM
Rhino Solids Geometry created out of Truncated solids.
Set Brep
Sc si
Setting Geometry into Grasshopper.
D
Cr na
44
CONCEPTUALISATION
Trim
Trim
First Fractal pattern cut out from surfaces.
Second Fractal pattern cut out from surfaces.
Scaling
caling of First Fractal pattern ize.
Deconstruct Brep
reating Surfaces out of origial geometry.
Scaling Scaling of Second Fractal pattern size.
Deconstruct Brep Creating Surfaces out of fractal Surface.
CONCEPTUALISATION 45
B.6 PROPOSAL 2
ISOMETRIC VIEW EMBASSY PAVILION Human and bee interaction explored: social and solitary The second design is inspired by the idea of Dolphin Embassy where human and animals could exist equally. It is hanging on the roof of a rest place which is in the playground of CERES. It is easily accessible by the public. Moreover, the space is shaded and accessible to the water source, which is suitable to the bees. The design aims to merge the living space of bees to the human leisure place in order to encourage the co-existence of the bees and human. Each of the cone on the surface provides a living space for the bees. It also allows people to understand their live and interact with them.
PLAN
SECTION
46
CONCEPTUALISATION
INTERATIONS ITERATION 1
ITERATION 2
ITERATION 3
ITERATION 2
ITERATION 3
INTERATIONS ITERATION 1
ITERATION 4
ITERATION 5
ITERATION 6
ITERATION 4
ITERATION 5
ITERATION 6
ITERATION 7
ITERATION 8
ITERATION 9
ITERATION 7
ITERATION 8
ITERATION 9
PSEUDO ALGORITHM Step 1
Step 2
Step 3
Step 4
Step 2
Step 3
Step 4
PSEUDO ALGORITHM Step 1
SURFACE make solid oponent in rhino,
BASE GEOMETRY divide surface, draw circle
extract surface
SURFACE make solid oponent in rhino, extract surface
BASE GEOMETRY divide surface, draw circle
MOVE
SPLIT SURFACE
scale and move the circle
split the surface with
according to the normal
base geometry
MOVE scale and move the circle according to the normal
SPLIT SURFACE split the surface with base geometry CONCEPTUALISATION 47
B.7 LEARNING OBJECTIVES AND OUTCOMES Part B of Studio Air focuses on applying computational techniques on the precedents, as well developing the techniques for the proposals and the design of the prototypes. For Part B, I focused on the topics of patterning and have developed the skills of writing grasshopper algorithms regarding to the topic of patterning. This is challenging because there are many possibilities in creating the patterns and it needs great control over the parameters. Moreover, the computation allows me to produce as many iterations as possible easily and in a short period of time. Therefore, it is important, and it gave me a chance, in Part B, to development the skills of choosing and comparing the iterations critically, as well as pushing the original design to its limit. Moving beyond the experiments with precedents, our group has developed two designs for the bee embassy based on the techniques we learned in B.1 to B.4. We have made the prototype by methods of laser cutting, 3D printing and clay making. These allow us to test different material quality and possibility for our future design, although not all of them are successful. For example, we found that it is difficult to fabricate the model by clay with the cardboard because they are sticking together. However, we have developed different possible joints for the leaser cut panels. Furthermore, we have created two designs regarding to the communication and interaction between human and bees. After the interim presentations, we realized that there are many things we can develop for the proposals. For example, it is important for us to determine the function for the bee embassy and understand how human and bees are using this space in order to create an interesting and comfortable playful area for human bees. Therefore, moving to Part C, our group will focus on developing these aspects, as well as developing the skills in grasshopper.
48
CONCEPTUALISATION
CONCEPTUALISATION 49
B.8 APPENDICE FRAUTAL PATTERN
Family 1
Family 2
Family 3
Family 4
50
CONCEPTUALISATION
CONCEPTUALISATION 51
Cellular Cell Cull pattern
52
CONCEPTUALISATION
Attractor point
CONCEPTUALISATION 53
Image sampling
54
CONCEPTUALISATION
Koch curve
CONCEPTUALISATION 55
REFERENCE LIST Adelyn Perez, ‘M.H. de Young Museum/ Herzog & de Meuron’, ArchiDaily (ArchiDaily, revised June 2010) < https://www. archdaily.com/66619/m-h-de-young-museum-herzog-de-meuron > [26 March 2018] Garcia, Mark, “Patterns of Architecture”, Architectural Design, 79, 6(2009), 6-19 Pell, Ben, The Articulate Surface: Ornament and Technology in Contemporary Architecture (London: Springer, 2010). Sally B. Woodbridge, ‘The de Young Museum Revisited’, Robin Chiang & Co (Robin Chiang & Co, revised 2018) < http:// designbythebay.com/de-young-museum/> [26 March 2018]
56
CRITERIA DESIGN
FIGURE LIST Fig.1 Zahner, ‘Shape of tree canopy’, Zahner (Zahner, revised 2018) <https://www.azahner.com/works/de-young> [26 March 2018] Fig.2 Zahner, ‘Perforation and extrusion’, Zahner (Zahner, revised 2018) <https://www.azahner.com/works/de-young> [26 March 2018] Fig.3 Inui Architects, ‘Dior Ginza’, Inui Architects (Inui Architects, revised 2018) <http://www.inuiuni.com/projects/234/> [10 April 2018] Fig.4 Fernando Herrera, ‘Dior Ginza pattern’, Flickr (Flickr, revised 2013) <https://www.flickr.com/photos/herrera/13528081584/ in/photostream/> [10 April 2018]
CRITERIA DESIGN
57