Muhammad Faiz 874505 Part B

STUDIO AIR PART B MUHAMMAD FAIZ

874505 1

2

contents PART B: CRITERIA DESIGN b.1 research field b.2 case study 1.0 b.3 case study 2.0 b.4 technique: development b.5 virtual prototype b.6 technique: proposal b.7 learning outcomes and objectives b.8 appendix - algorithmic sketches

4 6 12 16 25 27 32 34

bibliography

48

3

4

PART B: CRITERIA DESIGN B.1 RESEACH FIELD

RESEARCH FIELD Geometry in architecture

SWISS RE BUILDING, LONDON

http://art-andersen.dk/wp-content/uploads/4.B.-THE-GHERKIN.jpg

Geometry

is an architectural approach that transforms a single point into structural elements.

It can use different mathematical concepts with computation algorithms, optimizations techniques and researched data information to form an architectural design or structure.

Geometrical Architecture has been advanced and improved over the years of different sources of technology and researches. In a threedimensional form, it uses different surfaces and elements to create a specific shape or formation.

These elements has been used in contemporary architecture today. Architecture today is uses freeforms and exploits the flexibility of one’s form.

It can come in many shapes, sizes, curvatures, structures; all needing the right support and base to come with it.

When manufacturing different forms, digital fabrications are being used to make things accurate and faster. This way of fabrication suits the design process of geometrical architecture very well due to the limitation of one’s machine or one’s geometry. Limitations in geometries are today’s problems and will continue being a problem as there are technological constraints.

However, exploring different types of geometry can hopefully reduce the limitation as a whole and hopefully provide a wider range for digital architecture.

5

B.2 CASE STUDY 1.0 6

CRITERIA DESIGN

http://matsysdesign.com/wp-content/uploads/2012/04/sg2012_ren_skin_01.jpg

This gridshell was done in a 4 day workshop at Smart Geometry 2012.

It used straight wood lath as the material to construct this form. For this structure to be built, the matrial had to be analysed on how much can it be bent along the geodesic lines on a surface.

Parametric tools were being used and the idea of this design was analysed to minimise the wastage of materials and to maximise the architectural presence of the space it’s in. [1] The design was based on a parametric geometric model and a structural model. This allowed a smooth workflow from the geometry, structure and the material performance to take place in the design.

http://matsysdesign.com/wp-content/uploads/2012/04/sg2012_Elevation_Front-01-01.png

SG2012 GRIDWELL

MATSYS 7

A: PROJECTIONS

Manipulating of control points on curves

Outer Curve: Increased height of control points nearer to edge

Mid Curve: Alternated heights of control points

Inner Curve: Control points modified to produce ‘wavy’ curve

More control points were added; 70 points

CP: 20 GS: 0, 0

CP: 10 GS: -5, 5

CP: 10 GS: 0, 2

B: GEOMETRIC SHIFTS

Added more geodesic curves/arcs

Control Points: 20 Geodesic Shift: -10, 10

C: FREE FORM SURFACES

Playing with different levels of height to produce smooth surfaces

Outer Curve: Height of ends elevated to produce ‘U’ shape

Mid Curve: Height of ends elevated to produce ‘U’ shape

Inner Curve: Curve flipped horizontally to produce ‘U’ shape

Outer Curve: Curve was stretched horizontally to produce longer arcs

Outer Curve: Curve was scaled inwards to produce a ‘closed’ surface

Mid Curve: Curve was stretched out to enhance the mid point of the arc

D: DEFORMATIONS

Scaling of curves to produce wave formations

Outer Curve: Shifted down to produce improportionate arcs

8

More control points were added; 70 points

Outer Curve: Control points were flattened onto the plane

Mid Curve: Control points in the middle were elevated

Inner Curve: Control points were flattened onto the plane

Mid Curve: Curve was elevated higher to produce longer arc between inner and outer curve

CP: 64 GS: -10, 10

CP: 64 GS: -15, 15

CP: 64 GS: 0, 0

CP: 64 GS: 0, 2

Lofted: Arcs produced a rather smooth surface from the curves

Inner Curve: Middle points of curve was stretched upwards

Lofted Surfaces from Part D, surfaces has much more mass and bigger than the other parts

Outer Curve: Curve was scaled outwards to produce a wider base

Mid Curve: Curve was elevated higher

Outer Curve: Curve was manipulated to produce a circular base

9

A: PROJECTIONS

B: GEOMETRIC SHIFTS

C: FREE FORM SURFACES

D: DEFORMATIONS

10

This projection shows the inner and outer curve being placed flat onto the plane, producing a shell-like structure with the arcs.

The other outcomes from this ‘species’ did not produce a stable form of the arcs.

This is a future design potential for a shelter or canopy layer that could be explored further with the geometric shapes.

When the curves were divided into more segments, the overall structure will have more arcs curving through the points. This is useful to produce a much more stable structure as there are more frames.

Also, if the surface were to be lofted, it would produce a smooth surface all around the structure, just like a layer or canvas or skin that could be placed over for future design potential.

This free form surface was to show the curve fluidity. The elevated up allows the arcs to have a smooth curvature, while the arcs on the sides contains a high degree of bending.

This structure can be used as a gateway or linkway from a place to another, allowing a smooth transition of experience for users.

Deformation is a good way to go as to see the different shapes that could be formulated. When the curves are scaled to different proportions, the capabilities of the arcs are pushed while it tries to go through all three control points with one motion. This will cause the overall geometry to be out of form.

Creating deformations allows us to show the sense of area within that structure.

DESIGN POTENTIAL

PROJECTIONS/FREE FORM SURFACES/GEODESIC SHIFTS/DEFORMATIONS:

All combined together to produce this unique structure

PROBLEMS AND EXPERIENCES FACED:

This experience was unique beause of the challenges in different forms and shapes. Geometry has wide varieties and coming up with an idea of changing its form for the future is a hard process because of the lack of knowledge with the details of this project in full.

DESIGN POTENTIAL FOR GEOMETRIC STRUCTURE:

This creates a symmetrical shape, similar to the Gridshell 2012.

The structure can be used as a canopy over a certain area of the site. The exposed structure allows the users to still obtain the connection within and also to the surroundings.

Material used could be similar to Gridshell 2012, as its structural behaviour would allow such bending. This would also allow the structure to blend into its site.

11

B.3 CASE STUDY 2.0 12

CRITERIA DESIGN

https://archpaper.com/wp-content/uploads/2016/10/Taichung-Metropolitan-Opera-House-by-Toyo-Ito-Photo-by-Lucas-K-Doolan-9254-edit-1.jpg

Taichung Metropolitan Opera House proposal

was to create spaces that formulate based on Toyo Ito’s concept of the ‘emerging grid’ that forms a complex and rich system of order.

His ideas was a basic form which was a square box. Its interior is made up of three dimensionally curved surfaces. This helps to blur the line beween the floors, walls and ceilings. The interior is made up of horizontal and vertical tube spaces. This shows connection in a building for its structure.

The structure is formed with several curved walls, joined with inlaid floors and core walls.

The tubes and the floor slabs are different layers.

The skin facade of the building serves as a living ecosystem.

The Opera House uses recycled rainwater and sewage, consists of eco-materials to limit the environmental load and conserve resources and also increased the greenery around the site to maximize energy savings.[2] The spaces in the building are art plazas that are spreaded out on the ground floor with different circulation directions leading to the grand theatre which is the main part of the design and building. There are dining facilities at the top floor and also has a roof garden in its design.

TAICHUNG METROPOLITAN OPERA HOUSE

TAIYO ITO 13

REVERSE ENGINEERING

This is the basic structure of the voids in the theatre, where it is repeated and arrayed alongside each other to form an overall geometry as seen from the Opera House. I will attempt to re-create these basic shapes and stack them.

http://www.designboom.com/cms/images/anita03/toyoito22.jpg

Two curves were created on two ends to set the height of the basic structure.

The curves were then scaled uniformly to allow a smooth arc to pass through from top to bottom.

An interpolate arc was then set through the control points of each curve, creating the frame of the structure.

14

Control points were inserted on each curve, dividing all curves into 10 segments.

The frame was then lofted to show the basic geometry of the structure.

Each of the basic geometrical structure was arrayed to create a box-like grid of the element. This is roughly how the spaces of the Opera House was created. With the help of Chromodoris, the form was then meshed up to create a randomized structure, similar to the one in the Opera House

WHAT IS THE NEXT STAGE/ STEP?

The next stage is to explore how to create different scales of the basic structure, allowing all the different geometries to blend into one whole building. This might include rotating each of the structure and placing it in the gaps between the original structure.

Structural Model of the Opera House

http://www.oistat.org/UploadFiles/2012-03/vanina/Taichung%20Opera.jpg

HOW DID I FAIR?

I think I have the main idea of how the Opera House fits all the spaces within the building. The gaps between each geometry could be used as the circulation around the building. However, I struggled at having each of the geometry to blend into one another, creating one solid form, instead of being separate structures being stacked and arrayed in different directions. I feel that once I have understood how to blend the surfaces, I would be able to create a structure that is much more similar to the Taichung Metropolitan Opera House.

http://aasarchitecture.com/wp-content/uploads/Taichung-Metropolitan-Opera-House-by-Toyo-Ito-14.jpg

15

B.4 TECHNIQUE: DEVELOPMENT 16

Keeping

the basic definition of the above structure, I will attempt to produce 50 different iterations by changing several factors in the inputs. The inputs in Chromodoris will also be adjusted to produce something that would be very distinct from the others. The 5 basic changes that will be done are:

Smoothness: Chromodoris can produce a whole different looking mesh with just the ‘smoothness’ modified. I will show how the smoothness of the mesh would produce different looking structures.

Free Form Surfaces: When the size of the projecting curves are modified, the produced arcs would end up looking like a block or a stem Projections: The projecting curves will be instead of the iterations from the other sections. modified on Rhino to allow Grasshopper to produce different arc projections with different Deformations: In this section I will stretch out the iterations. The control points on the curves will projecting curves to produce deformed looking also be adjusted between a few iterations. arcs that will be meshed out with Chromodoris.

The results from this section will include rounded Single Mesh: Before producing an array of the or curved out edges. same basic shape, I will experiment with a single shape to visualise how it would appear without meshing with each other.

17

A: PROJECTIONS

Manipulating of control points on curves

CONTROL POINTS: 50

CP: 50

CP: 50

CP: 10

CP: 10

DL: 2 VS: 1 ER: 2 SV: 0.9 SM: 50

DL: 1 VS: 1 ER: 2 SV: 1 SM: 50

DL: 1 VS: 1 ER: 2 SV: 1 SM: 0

DL: 1 VS: 1 ER: 2 SV: 1.3 SM: 0

DL: 1 VS: 1 ER: 4 SV: 1.4 SM: 100

B: SINGLE MESH

Manipulating factors of a single unit with Chromodoris

DL: 2 VS: 1 ER: 5 SV: 1 SM: 50

DL: 2 VS: 1 ER: 5 SV: 0.9 SM: 50

C: SMOOTHNESS

Manipulating the smoothness of mesh produced with Chromodoris

18

DL: 1 VS: 1 ER: 2 SV: 1.3 SM: 100

DL: 1 VS: 1 ER: 2 SV: 1.3 SM: 60

DL: 1 VS: 1 ER: 2 SV: 1.3 SM: 30

CP: 20

CP: 50

CP: 20

CP: 50

CP: 50

DL: 2 VS: 1 ER: 2 SV: 1 SM: 100

DL: 3 VS: 1 ER: 10 SV: 0.8 SM: 0

DL: 3 VS: 1 ER: 3 SV: 0.8 SM: 0

DL: 3 VS: 1 ER: 2 SV: 0.9 SM: 0

DL: 4 VS: 1 ER: 2 SV: 0.76 SM: 0

DL: 2 VS: 1 ER: 2 SV: 1.2 SM: 100

DL: 2 VS: 1 ER: 2 SV: 1.2 SM: 50

DL: 2 VS: 1 ER: 2 SV: 1.2 SM: 0

DL: 1 VS: 1 ER: 2 SV: 1.6 SM: 15

DL: 1 VS: 1 ER: 2 SV: 1.6 SM: 70

19

D: FREE FORM SURFACES

Shifting of projecting curves to produce different interpolate curves with varying Chromodoris factors

DL: 1 VS: 1 ER: 2 SV: 1 SM: 50

DL: 1 VS: 1 ER: 2 SV: 0.5 SM: 50

DL: 1 VS: 1 ER: 2 SV: 0.6 SM: 50

DL: 1 VS: 1 ER: 2 SV: 0.5 SM: 50

DL: 1 VS: 1 ER: 2 SV: 0.5 SM: 50

DL: 1 VS: 1 ER: 2 SV: 1.2 SM: 100

DL: 1 VS: 1 ER: 2 SV: 1.2 SM: 50

E: DEFORMATIONS

Deformations of projecting curves with varying Chromodoris factors

DL: 1 VS: 1 ER: 2 SV: 0.5 SM: 50

20

DL: 1 VS: 1 ER: 2 SV: 1.2 SM: 50

DL: 1 VS: 1 ER: 2 SV: 1.2 SM: 100

DL: 1 VS: 1 ER: 2 SV: 0.5 SM: 50

DL: 1 VS: 1 ER: 2 SV: 0.6 SM: 50

DL: 1 VS: 1 ER: 2 SV: 0.7 SM: 100

DL: 1 VS: 1 ER: 2 SV: 0.3 SM: 100

DL: 1 VS: 1 ER: 2 SV: 0.3 SM: 0

DL: 1 VS: 1 ER: 2 SV: 1.2 SM: 0

DL: 1 VS: 2 ER: 1 SV: 0.5 SM: 50

DL: 1 VS: 2 ER: 1 SV: 1.2 SM: 50

DL: 1 VS: 2 ER: 1 SV: 1.2 SM: 100

DL: 1 VS: 2 ER: 1 SV: 1.2 SM: 100

21

A: PROJECTIONS When the order of the projection curves are shifted, the produced arcs shows a roof-like structure that is very applicable to the site, providing shelter for users as a rest-stop or even an installment.

Adding more control points would produce more arcs and it shows the stability of the structure compared to lesser arcs.

B: SINGLE MESH With Chromodoris, mesh can be formed around produced arcs and what we have here is a single form with an unsmoothened surface around it. The structure is clumpy and rough, making it easier to blend to site. It creates a curved surface on the top, which users might use to rest on.

C: SMOOTHNESS When the smoothness factor of Chromodoris is adjusted, many different results can be obtained. This chosen iteration has the smoothness set to the middle, which makes it consist of both smooth and clumpy surfaces.

D: FREE FORM SURFACES With the projecting curves being stretched vertically, it produces a smooth and tall stem-like structure. This was chosen amongst the other iterations as I am looking for a vertical element to be implemented into the design as it would fit into the site better.

E: DEFORMATIONS Stretching out the produced arcs would result in deformations when Chromodoris is used. This chosen iteration consists of both vertical stem looking elements and also a pod on top. It seems like it is the combination of both A & D.

22

23

B.5 VIRTUAL PROTOTYPE 24

25

B.6 TECHNIQUE: PROPOSAL 26

METAMORPHOSIS

Instead

of a design which allows the cohabitation of human and non-human, I proposed an installation which allow humans to go through the transition of metamorphosis, which is very significant in the life cycle of a damselfly. Users will be able to experience the transition which consists of the adult damselfly body form, which are represented by the bright coloured corridor, which is covered with a contrasting mesh which represents the form of the exuviae, being left behind after the process of metamorphosis. The overall form of the structure follows the form of the damselfly going through metamorphosis.

Another factor taken into consideration is also the buildability of the design. I proposed a design which does not drift far into an imaginary or fantasy idea. With basic materials such as compressed cardboard and plywood, the question of is not much of an issue as those materials are rather easy to obtain and the production into this structure will not be a hassle. It is possible to fabricate those materials by laser cutting and also bending of the plywood, taking into consideration its tensile property.

27

Night Parade It has already been 3 hours of going around the same spot, finally admitting that I have lost my bearing in this woodland. The sun shone its last ray of light before setting, leaving me in total darkness. I stood still, sweaty and slightly terrified while waiting for my eyesight to adapt to the darkness. After taking a few steps forward, I begin to hear the gushing of water nearby. That sound wasn’t there earlier on and my natural instinct was to head towards the source. As the sound becomes louder, I start to see a streambank, with tall stems piercing the sky.

I felt a sense of relief, knowing that the stream would lead me straight out. As I walk along the stream, I started to notice bright coloured insects flying in vast speed, going round and round right above the stream. I stopped and tried to get a better view of what that was. And there it was, a swarm of male damselflies having a showcase of their bright-coloured stem-like bodies, while the female damselflies sat on a rock, getting mesmerized by the other gender.

Just when things were about to get exciting, the display was interrupted by a Growling Grass Frog, which jumped right onto the rock. The damselflies dispersed, flying to the nearest stem, latching onto the tip of it. There it sat, surveying its surroundings. And there I knew, the night parade was over.

28

The walking pavement provides the transition from the open field to the water body where the damselfly inhabits. It is the perfect location for the design to sit as it will futher enchance the transition and contrast.

Location Plan

29

30

31

32

B.7 LEARNING OBJECTIVES AND OUTCOMES

Part

B was to show my technique and the ability to expore architecture digitally in the form of parametric modelling.

The learning objectives was to have the ability to create and generate a variety of different design ideas and species for the design brief.

This is also considered with algorithmic design and parametric modelling.

Choosing geometry as a precedent study allowed me to explore the ability of using geometry as my base of understanding digital architecture. Although it is a very vague and abstract topic, being in the simple basis of shapes, objects, curves or lines intersecting, it is definitely in every aspect of architecture and its construction.

The research on digital architecture has increased my knowledge in terms of how engineers, contractors and architects thought of their design and how they draw their inspiration from. I did not know that computational design has been a part of the design all these while. Only after using these designs as my case study I have slowly realised that it plays a big role in this field. Although the process is tedious and enduring, it is about the patience of figuring out what fits the design best.

The outcome of Part B was being able to manipulate the structure I wanted in context with the surroundings and my design idea with its design brief. I could then develop the foundational understandings of computational geometry, data structures and the grasshopper components that came with the Rhino software.

I hope to learn more from this and get a better understanding and knowledge of these ideas and program.

33

34

B.8 APPENDIX - ALGORITHMIC SKETCHES

Using recursive definitions allows us to recreate a similar form

onto a current form, by scaling, moving, rotating or even trimming.

The forms above were results of recursive definitions. They first start with a basic shape and was then scaled and moved using the same starting form and then trimmed away.

WEEK 4

Recursive Definitions

35

Chromodoris played a vital role in the form finding in Part B.2 and

B.4. This extension allows me to create meshes around a particular existing geometry and there are variables that can be adjusted to meet the different criterias. Adjusting the ‘Smoothness’ of the mesh can produce a totally different form with it being smoothed out or chunky looking.

The definitions above were first created using Anemone to obtain the different recursive definitions and were then added to Chromodoris to wrap meshes around the basic geometries.

WEEK 5

Anemone & Chromodoris

36

Softwares can be used to allow a particular design

to reach out to its targeted audience. Unity allows its audience to visualise the final form of a design in its site, without having to fabricate an actual prototype or model. Many different factors can then be adjusted, such as lighting, textures and also the scale of the object. Unity can also be tightly related to Virtual Reality, which allow users to explore a particular design without having to build it and I believe that this is the future of idea pitching.

What I did in unity was to place a basic geometrical form from Rhino and import it into Unity as an .obj file and started to change the lighting and also added a grass texture to the ground plane to allow a visualisation on how it would appear in the real world.

WEEK 6 Unity

37

BIBLIOGRAPHY

1. MATSYS, ‘SG2012 GRIDSHELL’ (2012) <http://matsysdesign.com/2012/04/12/sg2012-gridshell/> [Acessed 25 March 2017] 2. Phillip Stevens, ‘Toyo Ito Taichung Metropolitan Opera House’ (2014) <http://www.designboom. com/architecture/toyo-ito-taichung-metropolitan-opera-house-taiwan-21-08-2014/> [Accessed 01 April 2017]

38