Studio Air Final Journal by Glen Thai-Chan by Glen T

STUDIO AIR: JOURNAL 2016, SEMESTER 1, CHEN GLEN THAI-CHAN 698558

CONTENTS ABOUT ME 4 PART A: CONCEPTUALISATION 5 A.1. DESIGNING FUTURING Sneakers X Ocean Plastic 6 - 7 A Liter of Light 8 - 9 A.2. DESIGN COMPUTATION Roland Snooks 10 - 11 Voronoi Morphologies 12 - 13 A.3. COMPOSITION/GENERATION 14 Shukovâ&#x20AC;&#x2122;s Tower 15 Chysalis III 16 - 17 A.4. CONCLUSION 18 A.5. LEARNING OUTCOMES 20

A.6. APPENDIX - ALGORITHMIC SKETCHES

22 - 25

BIBLIOGRAPHY 26 FIGURES 28 - 30 PART B: CRITERIA DESIGN 31 B.1. RESEARCH FIELD BIOMIMICRY 32 TESSELATION 33 B.2. CASE STUDY 1.0 THE MORNING LINE, ARANDA LASCH 34-37 B.3. CASE STUDY 2.0 VOLTADOM, SKYLAR TIBBITS 38-39 ART 615 PROJECTS, AALBORG UNIVERSITY, DENMARK 40-41 B.4. TECHNIQUE: DEVELOPMENT ART 615 PROJECTS, AALBORG UNIVERSITY, DENMARK

42-45

B.5. TECHNIQUE: PROTOTYPES PROTOTYPE 1 46-47 PROTOTYPE 2 48-49 B.6. TECHNIQUE: PROPOSAL ARTISTIC INSTALLATION 50-51 AUDIO/SOUND EXPLORATIONS 52-55 FINAL DESIGN PROPOSAL 56-59 B.7. LEARNING OBJECTIVES AND OUTCOMES 60 B.8. APPENDIX - ALGORITHMIC SKETECHES 61-63 PART C: DETAILED DESIGN 81-175

ABOUT ME

Welcome to my design journal for design studio air, where I will hopefully be taking you through a journey of my own design explorations throughout the semester, sharing with you my experience of not only the subject, but my experience of maturing as a designer and aspiring architect. I am currently a third year university student studying the Bachelor of Environments Undergraduate degree at the University of Melbourne, aiming to hopefully major in Architecture. Itâ&#x20AC;&#x2122;s been a quick but tiring two years so far, with possibly only one year left. At first when enrolling into this degree straight after high school, I was never entirely certain and slightly unsure about what I was getting myself into. Having barely done anything related to design, art, or even history in the last few years of my high school, I had a slight concern that architecture may turn out to be the wrong career choice. I however stuck to it and chose the degree because I had a feeling that my early childhood interests and passions in drawing, painting and exploring creative concepts was still in me, and that hopefully architecture can help me in exploring my creative mind; changing my perspective and appreciation of the world in an open sense. 4

Some other reasons behind my decision was also influenced by my opinion that the career is potentially quite open to travelling; which is what I love doing when I get the opportunity, and hopefully if I am one day successful enough, I can contribute and influence different parts of the world we live in, through architecture and design; whether it be big or small. Throughout the years of this course however, I am glad to say that I have personally grown to not only appreciate and understand architecture in a deeper and passionate sense, but also gradually expose myself to exploring art, painting, sculpting, design, music, fashion and much more. I am glad to have taken this course, and excited to see what more I can learn and take on board not only at university, but outside of it, in the bigger picture of the real world.

PART A: CONCEPTUALISATION

Glen Thai-Chan

A.1. DESIGNING FUTURING SNEAKERS X OCEAN PLASTIC

In my eyes and opinion, the exploration of re-using ocean plastic waste in the production of sneakers is a strong example of ‘design futuring’; modeling a way in which our society can rethink and consider ‘design’. As mentioned in ‘Designing Futuring’ by Fry, our society is facing problems such as ‘sustaining’, affecting our chances of having a ‘future’. We need to begin to see and engage with design in a new way not focussing on just the aesthetics of design, but how our designs can continue to design, and therefore design for ourselves a ‘future’. We as a society are continually advancing, such as by innovating new forms of technology. This can be as damaging as it can be beneficial, for not only can we create more, but we can destroy more with our creations e.g. with new technology we are able to attain and consume more of the Earth’s resources readily, at a rate that where our resources are depleting. This is an alarming focus for society, and in this project and concept of shoes, innovation and technology in a way is able to amend its wrongs and help in redesigning not only the sneaker game, but the future of using resources and materials. German born sneaker giants Adidas have not only been able to design a concept sneaker that reuses waste plastic filtered out from the ocean for its upper, but with the aid of new age 3-D printing, a sole made out of recycled fishing nets. This concept is truly a beginning of many new ideas and products, interestingly showing us how we must consider the affects of our designs in a broader picture, for one design can lead onto and affect other designs. For further interest in how technology and science has now aided in creating a self-repairing sneaker 3-D printed from biological cells. Click the following link Self-repairing Sneaker

Figure 2. 3-D Printed sole on sneaker| Adidas

7 Figure 1. 3-D printed sole| Adidas

Figure 3. Side view of sneaker| Adidas

Figure 4. Front view of sneakers| Adidas

Figure 5. ‘Liter of Light’ Detail Figure 4. ‘Liter of Light’ installed on roof

A.1. DESIGN FUTURING A LITER OF LIGHT Part of the idea and concept of ‘Design Futuring’ was to think outside of purely aesthetic design, and to really consider the impact of ours designs, considering the changes that can be brought about, how they can not only influence new designs and concepts, but help shape and design for humanity a ‘future’. Why do we need to design a ‘future’ when the future is simply what lies ahead of the present? This is due to the concern that we as humans have designed an un-sustaining present, which can lead to a destructive world. The ‘Liter of Light Project’ is a current world example where one particular design (wasted plastic bottles) can be used to design another (solar powered light bulb), altering the initial design’s purpose and outcome to something totally new and different. Owing to the research and studies conducted by the students of MIT working with ‘My Shelter Foundation’, they discovered that by simply filling recycled plastic bottles with water and 10 ml of bleach, the diffraction of natural light within the bottle is capable of mimicking the abilities and functions of a light bulb. The use and function of the water bottle has now not only changed, but it has also changed the lives of the millions of Filipinos who go about their daily lives without any kind of indoor light.

Figure 6. Happiness and joy brought to the people

Those affected can now not only function and study more effectively indoors; increasing the productivity of their day to day lives, but they are now brightening the future of the world by discovering new ways of encouraging ‘sustain’. For more information about this project, feel free to visit the following website: http://literoflight.org/ 8

9 Figure 7. Providing light indoors for studying

Figure 8. Emmition of light close up

A.2. DESIGN COMPUTATION

As much of society today is apparent to the continual fluxes present in our current everyday society, we simply cannot disregard the influences and impacts that technology has apparently brought into our lives. It is not only continuing to advance and become more sophisticated, but we have in a way embedded technology into the fabric of our everyday lives, for it is essentially now a part of us, playing a part in how we shape and can design our future. With these advancements within technology, our present society is now at a stage where contemporary computational design techniques are used to further expand our abilities to explore design, changing the way we look at design, as well as the design process. It has led society to explore programming as a way of producing parametric algorithmic designs, digital fabrication, BIM, and much more. All these new explorations and findings altogether encourage design and thinking within a complex field of both reality and virtual reality; which may not have been efficiently possible without computational capabilities.

Figure 12. Yeosu Pavilion| Roland Snooks

In current society, new designs and styles are continuing to appear, bringing innovative styled buildings across the world, capable of becoming the ‘signature’ of architecture firms and their architects. This can be seen for example in Roland Snooks projects, since he is not only an architect who uses computational design techniques to acquire and drive his design forms, but he consistently uses a pre-programmed script throughout all of his works. This consistent use of a pre-programmed scripts drives his generative design forms in a particular style, creating and reflecting a ‘signature’ of his own styled work. Below and across the page are a few illustrations and examples of his completed projects, which show a very strong and unified relationship between one another. Computational design is now far more efficient and easier to create.

ROLAND SNOOKS

Figure 13. Flinders Street Station| Roland Snooks

Figure 10. Malibu House| Roland Snooks

10 Figure 9. Meeting Pavilion| Roland Snooks

11 Figure 11. Fibrous Tower| Roland Snooks

Figure 14. Nine Elms Bridge| Roland Snooks

Figure 15. Babiy Yar Memorial| Roland Snooks

Figure 16. Kazakhstan Symbol| Roland Snooks

A.2. DESIGN COMPUTATION A.2. DESIGN COMPUTATION

VORONOI MORPHOLOGIES

Voronoi Morphologies is the latest development in an ongoing area of research into cellular aggregate structures, where voronoi algorithms can be used to facilitate the translation and materialization of data from particle-simulations and other point-based data, into volumetric forms. This is my opinion is very beneficial and interesting in exploring different regions of space, form, as well as structure. The following is an example conducted by Matsys which explores this computational technique, by interestingly showing how this technique can be used to generate such a variety of designs. For myself personally, I would like to potentially use this technique

Figure 20. 3-D Paper Prototype| Matsys

Figure 21. Plaster Prototype| Matsys

Figure 18. 2.5-D Surface Voronoi Drawings| Matsys

12 Figure 17. Prototype Testing| Matsys

13 Figure 19. 3-D Voronoi Drawings| Matsys

Figure 22. 2.5-D Surface Voronoi Model| Matsys

A.3. COMPOSITION/ GENERATION ‘Composition’ and ‘Generation’ are two different but quintessential practices of designing, that can be easily confused in today’s modern society. Composition is generally associated with the practice of designing given that there is already an understanding and idea of what the final outcome is going to be, where as generation is the practice of designing a final outcome without knowing or understanding the potential outcome; generally generated from a recipe or formula of actions provided (as Antoni Gaudi achieved in Sagarada Familia, via the manipulation of Hyperboloids). Composition on the other hand involves inputting and performing actions as required, to achieve the desired outcome. So in today’s modern society of design, is there a shift from the practice of composition towards generation? And is generation the new whilst composition’s the old? In my opinion there has certainly been a shift, however neither is the new or the old, for generation could possibly have been around as early as composition itself. This sensation of a shift however in the practice of generation shares a relationship with the evolution of technology, for technology is the reason behind the emergence of generation being practiced in today’s society.

Figure 24. Internal view of Shukov’s Tower

Why’s this? Because with the advancement of technology such as computers and robotics, a far larger community of designers are now able to actually use and process complex algorithms with far greater ease and efficiency, to produce more generative designs.

SHUKOV’S TOWER Constructed in 1922, Shukov’s Tower is an early example of generative design, since the design itself is derived from mathematics.

This new approach is exciting, as we can now explore the possibilities of designs even further, discovering things we at first could not have imagined or calculated; for some may have thought the physics were not possible or too complex for our abilities.

Valadamir was a russian engineer, mathematician and architect who was curious with designing roof systems to use minimum material, time, and labor. With this curiosity, Valadamir explored mathematically, and from a derivered family of equations, discovered a new constructional and structural system known as hyperbolic paraboloids. This system is not only the structural system of Shukov’s Tower, but the designer and reason behing its overal form of design.

Simplicity and ease is such a strong reason and deciding factor behind the decisions people make, and this is simply the reason behind why there has now been a shift from composition to generative design processes. Generative design is now so much easier to achieve, with so many exciting possibilities waiting to be discovered. Some examples of generation include the early work of Shukov’s Tower by Vladamir Shukov, as well as Matysys exploration of cellular morphologies in the Chyrsalis III project.

15 Figure 23. Diagram of Shukov’s Tower| RIA Novosti

A.3. COMPOSITION/ GENERATION CHYRSALIS III This project was completed in 2012 by Matsys, using computational tools of Grasshopper, Kangaroo, Python, Lunchbox and Rhinoscript. The generation of this design is derived from exploring cellular morphologies, and investigating the self-organisation of barnacle-like cells across an underlying substrate surface. The cells shift and slide across the surface as they attempt to find a more balanced packed state through the use of a relaxed spring network constrained to the surface. Each cell is composed of two parts: a cone-like outer surface made from cherry veneer and a non-planer inner plate made from poplar veneer that stresses the outer cone into shape.

Figure 27. Close up of plates| Matsys

Figure 28. Full view of Crysalis III| Matsys

Figure 25. Still frames of 2D animation of cell relaxation from pure voronoi network to relaxed voronoi network (vorlax)| Matsys

16 Figure 26. Diagram of Plate Formation| Matsys

17 Figure 29. Internal view of Crysalis III| Matsys

A.4. CONCLUSION

Part A has dealt greatly in discussing design and design processes as it is now in our current everyday society, through research and readings, as well as introduction into the computational software of Rhino and Grasshopper. It has not only introduced topics of relevance, but has helped in engaging productive discussions that help us to really understand design as it is now, slightly creating and refining for us this new perspective and understanding of design. This new perspective and understanding in my opinion is really interesting for it is really relevant and relatable to us, especially as students aspiring to become architects and designers. This section really got me to reconsider and think about design in a far more critical manner, whilst developing a slightly clearer understanding of the many possibilities of design. It has brought to me a realisation that I can actually now use computational design techniques and processes to create art, instead of using a combination of apparatuses and my hands. This new idea of drawing and creating with algorithms is so innovative, it is what I want to focus on and aim to achieve in my design approach this semester. Hopefully by following this approach, I am able to in the end create something artistic and new that may be viewed externally by others as abstract and random, but when the outer layers are peeled away, deep within the skeleton of the design is a very specific and calculated algorithm that has crafted the overall form. By designing in this manner, society can be efficiently far more innovative, aiding in the advancement of society itself, as well as shaping a bright and open future of opportunities. The younger and older generations of society can all through exposure hopefully develop naturally a new perspective of not just only design, but the future of the world.

A.5. LEARNING OUTCOMES Prior to Part A of Design Studio: Air, my knowledge and experience of architectural computing was quite standard, involving simply the basic programs and functions of Rhino and Autocad. I had never experienced the Grasshopper plugin of Rhino before, and now I am glad that I have. By learning Grasshopper along with the exercises and structures composed by this subject, I feel that itâ&#x20AC;&#x2122;s been very beneficial for me in developing not only an understanding of how designing can be achieved through computing, but begin to understand how computing actually works; such as how algorithms, components and functions work hand in hand. This new understanding for me has in a way unlocked a new realm of exploration for design, as well as provide myself with a new set of efficient skills. By exploring this new realm of design in my own time as well as through the guidance and help of my tutor in class tutorials, I am exposing myself to new design processes and techniques that I wasnâ&#x20AC;&#x2122;t so clearly aware of earlier, or really understood. I feel that by actually having an understanding of my explorations, I have now initialised a far greater appreciation and interest of computational designs and design processes, intriguing me of the many possibilities waiting to be discovered. I am really excited to continue to explore these possibilities further, hopefully finding new ways of using computational techniques and processes to create art and designs.

A.6. APPENDIX ALGORITHMIC SKETCHES With my design approach in mind, which is to use computational processes and techniques to create visual art, I have selected the following sketches and designs. These sketches reflect my exploration of developing pieces of digital artistic outcomes, showing how it is possible in a way to create complex forms and structures, which can be fabricated to produce sculptures and artistic objects.

BIBLIOGRAPHY “Adidas Unveils Sports Shoes Made From Recycled Ocean Waste”, Dezeen, 2015 <http://www.dezeen. com/2015/07/08/adidas-parley-sports-shoe-alexander-taylor-recycled-ocean-plastic/> [accessed 18 March 2016] “Architects To Putin: Save Shukhov Tower, Moscow’s Futuristic Soviet ‘Eiffel’!”, Motherboard, 2014 <http://motherboard.vice.com/read/moscow-shukhov-tower> [accessed 18 March 2016] “Chrysalis (III) Â« MATSYS”, Matsysdesign.com, 2016 <http://matsysdesign.com/2012/04/13/chrysalis-iii/> [accessed 18 March 2016] “Liter Of Light - Curry Stone Design Prize”, Curry Stone Design Prize, 2016 <http://currystonedesignprize.com/winners/liter-of-light/> [accessed 18 March 2016] “Liter Of Light - Solar Powered Bottles | Travel Photographer Jacob Maentz”, Jacob Maentz Photography, 2011 <http://www.jacobimages.com/2011/12/liter-of-light-solar-powered-bottles> [accessed 18 March 2016] “PROJECTS”, STUDIO ROLAND SNOOKS, 2016 <http://www.rolandsnooks.com/> [accessed 18 March 2016] “Shukhov Tower”, Wikipedia, 2016 <https://en.wikipedia.org/wiki/Shukhov_Tower> [accessed 18 March 2016] “Voronoi Morphologies Â« MATSYS”, Matsysdesign.com, 2016 <http://matsysdesign.com/2009/06/18/ voronoi-morphologies/> [accessed 18 March 2016] Howarth, Dan, “Adidas Combines Ocean Plastic And 3D Printing For Trainers”, Dezeen, 2015 <http:// www.dezeen.com/2015/12/12/adidas-ocean-plastic-3d-printing-eco-friendly-trainers/> [accessed 18 March 2016] Matters, Rio, “A Liter Of Light Goes A Long Way (By Ami Valdemoro)”, Harvard Students Talk Rio+20, 2012 <https://riomatters.wordpress.com/2012/06/06/1-liter-of-light-by-ami-valdemoro/> [accessed 18 March 2016] (Version), NCS, “Archives”, Lihirilamel.com, 2015 <http://www.lihirilamel.com/archives/anitua-newsletters/ncs-gadona/114-ncs-gadona-the-voice-e-letter-april-2014-web-version?path=anitua-newsletters/ ncs-gadona> [accessed 18 March 2016]

FIGURES Figure 1. Howarth, Dan, “Adidas Combines Ocean Plastic And 3D Printing For Trainers”, Dezeen, 2015 <http://www. dezeen.com/2015/12/12/adidas-ocean-plastic-3d-printing-eco-friendly-trainers/> [accessed 18 March 2016] Figure 2. Howarth, Dan, “Adidas Combines Ocean Plastic And 3D Printing For Trainers”, Dezeen, 2015 <http://www. dezeen.com/2015/12/12/adidas-ocean-plastic-3d-printing-eco-friendly-trainers/> [accessed 18 March 2016] Figure 3. “Adidas Unveils Sports Shoes Made From Recycled Ocean Waste”, Dezeen, 2015 <http://www.dezeen. com/2015/07/08/adidas-parley-sports-shoe-alexander-taylor-recycled-ocean-plastic/> [accessed 18 March 2016] Figure 4. “Adidas Unveils Sports Shoes Made From Recycled Ocean Waste”, Dezeen, 2015 <http://www.dezeen. com/2015/07/08/adidas-parley-sports-shoe-alexander-taylor-recycled-ocean-plastic/> [accessed 18 March 2016] Figure 5. “Liter Of Light - Curry Stone Design Prize”, Curry Stone Design Prize, 2016 <http://currystonedesignprize. com/winners/liter-of-light/> [accessed 18 March 2016] Figure 6. (Version), NCS, “Archives”, Lihirilamel.com, 2015 <http://www.lihirilamel.com/archives/anitua-newsletters/ncs-gadona/114-ncs-gadona-the-voice-e-letter-april-2014-web-version?path=anitua-newsletters/ncs-gadona> [accessed 18 March 2016]

Figure 17. “Voronoi Morphologies Â« MATSYS”, Matsysdesign.com, 2016 <http://matsysdesign.com/2009/06/18/ voronoi-morphologies/> [accessed 18 March 2016] Figure 18. “Voronoi Morphologies Â« MATSYS”, Matsysdesign.com, 2016 <http://matsysdesign.com/2009/06/18/ voronoi-morphologies/> [accessed 18 March 2016] Figure 19. “Voronoi Morphologies Â« MATSYS”, Matsysdesign.com, 2016 <http://matsysdesign.com/2009/06/18/ voronoi-morphologies/> [accessed 18 March 2016] Figure 20. “Voronoi Morphologies Â« MATSYS”, Matsysdesign.com, 2016 <http://matsysdesign.com/2009/06/18/ voronoi-morphologies/> [accessed 18 March 2016] Figure 21. “Voronoi Morphologies Â« MATSYS”, Matsysdesign.com, 2016 <http://matsysdesign.com/2009/06/18/ voronoi-morphologies/> [accessed 18 March 2016] Figure 22. “Voronoi Morphologies Â« MATSYS”, Matsysdesign.com, 2016 <http://matsysdesign.com/2009/06/18/ voronoi-morphologies/> [accessed 18 March 2016]

Figure 7. “Liter Of Light - Solar Powered Bottles | Travel Photographer Jacob Maentz”, Jacob Maentz Photography, 2011 <http://www.jacobimages.com/2011/12/liter-of-light-solar-powered-bottles> [accessed 18 March 2016]

Figure 23. “Architects To Putin: Save Shukhov Tower, Moscow’s Futuristic Soviet ‘Eiffel’!”, Motherboard, 2014 <http://motherboard.vice.com/read/moscow-shukhov-tower> [accessed 18 March 2016]

Figure 8. Matters, Rio, “A Liter Of Light Goes A Long Way (By Ami Valdemoro)”, Harvard Students Talk Rio+20, 2012 <https://riomatters.wordpress.com/2012/06/06/1-liter-of-light-by-ami-valdemoro/> [accessed 18 March 2016]

Figure 24. “Shukhov Tower”, Wikipedia, 2016 <https://en.wikipedia.org/wiki/Shukhov_Tower> [accessed 18 March 2016]

Figure 9.

Figure 25. “Chrysalis (III) Â« MATSYS”, Matsysdesign.com, 2016 <http://matsysdesign.com/2012/04/13/chrysalis-iii/> [accessed 18 March 2016]

Figure 10. “PROJECTS”, STUDIO ROLAND SNOOKS, 2016 <http://www.rolandsnooks.com/> [accessed 18 March 2016] Figure 11. “PROJECTS”, STUDIO ROLAND SNOOKS, 2016 <http://www.rolandsnooks.com/> [accessed 18 March 2016] Figure 12. “PROJECTS”, STUDIO ROLAND SNOOKS, 2016 <http://www.rolandsnooks.com/> [accessed 18 March 2016] Figure 13. “PROJECTS”, STUDIO ROLAND SNOOKS, 2016 <http://www.rolandsnooks.com/> [accessed 18 March 2016] Figure 14. “PROJECTS”, STUDIO ROLAND SNOOKS, 2016 <http://www.rolandsnooks.com/> [accessed 18 March 2016]

Figure 26. “Chrysalis (III) Â« MATSYS”, Matsysdesign.com, 2016 <http://matsysdesign.com/2012/04/13/chrysalis-iii/> [accessed 18 March 2016] Figure 27. “Chrysalis (III) Â« MATSYS”, Matsysdesign.com, 2016 <http://matsysdesign.com/2012/04/13/chrysalis-iii/> [accessed 18 March 2016] Figure 28. “Chrysalis (III) Â« MATSYS”, Matsysdesign.com, 2016 <http://matsysdesign.com/2012/04/13/chrysalis-iii/> [accessed 18 March 2016] Figure 29. “Chrysalis (III) Â« MATSYS”, Matsysdesign.com, 2016 <http://matsysdesign.com/2012/04/13/chrysalis-iii/> [accessed 18 March 2016]

Figure 15. “PROJECTS”, STUDIO ROLAND SNOOKS, 2016 <http://www.rolandsnooks.com/> [accessed 18 March 2016] Figure 16. “PROJECTS”, STUDIO ROLAND SNOOKS, 2016 <http://www.rolandsnooks.com/> [accessed 18 March 2016]

PART B: CRITERIA DESIGN

B.1. RESEARCH FIELD BIOMIMICRY

- SYSTEMS THAT MIMIC NATURE, FRACTALS, VORONOIS, HEXAGONS

In my eyes, computational design through biomimicry really allows for the exploration of abstract and unique forms; in particular through aesthetics. These forms can be as organic as nature or even a serious mix of simple geometric shapes, quite often viewed from a particular perspective as random, whilst secretly obscuring the fundamental and possibly quite simple logic behind whatâ&#x20AC;&#x2122;s really defining the structure and form of the project. For example, by looking at the Morning Line by Arnada Lasch, a very unique aesthetic design is generated over a simple and constructive back bone of polygons. These polygons act as the skeleton of the project, so in a way function as the form work of the structure, whilst the external faces of the polygons have been manipulated into a creative and aesthetically pleasing skin. By using this particular research field, there are limitless opportunities of generating interesting aesthetic compositions, that can be also structurally stable, and conveniently fabricated through digital means. As long as the overall skeleton of the project is physically supportive, the external skin and surface of the structure is free to exploration; which has been the case in the Morning Line Project. When the time comes for fabrication though, careful consideration of materials will play a vital role in the construct ability and performance of the final outcome. For some materials may have a particular emotional aesthetic effect, and some may be too fragile/weak in support of the structure etc.

Figure 1. The Morning Line| Aranda Lasch

B.1. RESEARCH FIELD TESSELLATION

- PANELISATION, REPETITIVE ELEMENTS DEFINING THE WHOLE, BREAKING UP OF COMPLEX SURFACES BY REPEATING ELEMENTS

Tessellation as a computation design technique is in a way quite similar to the concept of Biomimicry, for it explores the opportunities of external skins, such as through panelling, or the repetition of elements along surfaces. In a way it employs to an extent patterning techniques in an attempt to repeat elements, and the final results generated are quite often cohesive as a whole; providing an essence of a unified structure. This in my opinion is a very important and key element of the technique, for it collectively determines and plays a part in the designers ideas and intents; for whether he/she wants to make the whole structure stand out or with its contextual environment. By analysing the tesselation projects such as VoltaDom by Skylar Tibbits and Polyp.lux by SOFTlab, we can observe two contrasting structural forms; one similar to that of a vault like structure, and the other similar to that of a canopy. Despite the two contrasting structures, each project is unified to look individually unique, given their composition of geometries. In regards to fabrication however, I believe that one of the greatest concerns would be preserving planarity throughout the geometries in order to make fabrication as convenient as possible, as well as maintain the overall structural form and shape of the project.

Figure 2. VoltaDom| Skylar Tibbits

Figure 3. POLYP.lux| SOFTlab

B.2. CASE STUDY 1.0 BIOMIMICRY

- THE MORNING LINE, ARANDA LASCH

The Morning Line is a project, that is essentially a collaborative platform used to explore the interplay of art, architecture, cosmology and music, through design. The project is said to be “a drawing in space, where each line connects to other lines to form a network of intertwining figures and narratives with no single beginning or end, entrance or exit, only movements around multiple centers that together trace out a dense web of ideas concerning the history and structure of the universe and our place in it”. This is in my opinion very interesting, for it shows a way in which a deeper relationship or narrative between topics can be expressed. How this project has achieved its collaborative platform success is through ‘“the bit”. Which is a simply a fractal building block that grows and scales in three dimensions, whilst producing the lines, spaces and structure of the piece. Each fractal piece is in fact interchangeable, demountable, portable and recyclable, allowing the piece to change and adapt physically over time, as well as move through the world to new locations and settings. In my own endeavours to explore this project further, I have explored a range of design possibilities with “the bit”. By simply playing around with the definition which defines the polygon, to extracting lines and recomposing each piece in order to recreate an overall collective form, I have been able to be inspired by the various possibilities.

Figure 4. Diagrams of “The Bit”| Aranda Lasch

B.2. CASE STUDY 1.0 BIOMIMICRY

- THE MORNING LINE, ARANDA LASCH

B.2. CASE STUDY 1.0 BIOMIMICRY

- THE MORNING LINE, ARANDA LASCH

1. 2.

3. 4.

The above 4 selected examples from the list of iterations in my opinion illustrate best the next progression of â&#x20AC;&#x153;the bitâ&#x20AC;?; for they begin to explore how each smaller component can be made into something more, something collectively bigger. My most favourite outcome would be No.1 and No.2, for they are respectively a representation of polygons through wires and pipes; without explicitly having the solid polygon present. The others show the interesting shapes that can be created, simply by varying the connections of particular and various different faces of simple geometries.

B.3. CASE STUDY 2.0 TESSELLATION

- VOLTADOM, SKYLAR TIBBITS

VoltaDom by Skylar Tibbits is an installation that populates the corridor spanning building 56 & 66 on MITâ&#x20AC;&#x2122;s campus. It is an installation composed of hundreds of vaults, aiming to imitate the designs of the famous vaulted ceilings of historic cathedrals. The overall project itself has exploited the possibilities of framed views, as well as projection of natural light, through amazingly a relative easy method of assembly and fabrication. The overall design of the installation was in fact developed from single planar strips, that could be rolled into vaults, and then joined together. In my attempts towards reverse engineering the project in rhino3d using the grasshopper plugin, I focused on two main methods. One focusing on using the orient component to reposition my object (a sectioned off cone) along a point on a vaulted surface, and two, to use the box morph command to position and morph my cones appropriately.

Figure 5. VoltaDom External| Skylar Tibbits

IDEOLOGY CREATE A SECTIONED-OFF CONE

CREATE A VAULT

CREATE A SET OF TARGET POINTS ON THE SURFACE OF THE VAULT

ORIENT SECTIONED-OFF CONES ONTO THE POINTS ONTO THE SURFACE

TRIM INTERSECTED AREAS OF CONES

INSERT POINTS TO VARY THE HEIGHTS OF CONES AT DIFFERENT DISTANCES TO THOSE POINTS

Figure 6. VoltaDom Vaults| Skylar Tibbits

B.3. CASE STUDY 2.0 TESSELLATION

2. INSERT THE SECTIONED-OFF CONE INTO ITS NEW TARGET POSITIONS

- VOLTADOM, SKYLAR TIBBITS

ATTEMPT 1 - BOXMORPH

1. CREATING THE TARGET POINTS ON A LOFTED SURFACE (VAULT)

STEP 1 - CREATING THE SECTIONED-OFF CONE

ATTEMPT 2 - ORIENT

*THIS EXPLORATION WAS NOT EXECUTED AS THIS PROJECT WAS DEEMED TOO DIFFICULT AT THE TIME, FORCING ME TO EXPLORE THIS ATTEMPT IDEA IN ANOTHER PROJECT INSTEAD*

B.3. CASE STUDY 2.0 TESSELLATION

- ART 615 PROJECTS, AALBORG UNIVERSITY, DENMARK

Art615 is a new installation/pavilion made by students of Aalborg University, DK during their 4 week workshop program: Social Technologies 2010. This workshop was conducted at the Department of Architecture & Design, where they researched the link between CNC fabrication techniques and digital sketching tools.

Figure 7. ART615 Projects Illuminated| AALBORG UNIVERSITY, DENMARK

Similarly to the VoltaDom, in my attempt to reverse engineer the project, I re-used the same reverse engineering philosophy of the VoltaDom; which was to make use of the orient and boxmorph commands, to create the external membrane around a defined form; which in this case is the re-positioning of the rectangular blocks.

Figure 8. ART615 Projects Rectangular Panels| AALBORG UNIVERSITY, DENMARK

B.3. CASE STUDY 2.0 TESSELLATION

STEP 4 - OBSERVE THE ORIENTATION AND POSITION OF THE INPUTED GEOMETRY, ALTER IF REQUIRED

- ART 615 PROJECTS, AALBORG UNIVERSITY, DENMARK

STEP 1 - CREATING THE STRUCTURAL FORM/SHAPE

STEP 5 - BAKE

STEP 2 - CREATE THE TARGET POINTS STEP 3 - CREATE INPUT GEOMETRY

From these explorations, I felt and can conclude that the orient command is the far more productive method, for it gives me more control in defining what the final outcome of the membrane is, whilst keeping most geometries within my design planar, and therefore simple to fabricate. This distinction was really only discovered via comparison of my two final results; being able to see that the geometries produced from boxmorph werenâ&#x20AC;&#x2122;t rectilinear anymore, and had morphed the planar qualities of the shape. However, this being said, I feel that the box morph tool can be very useful in drawing and creating inspiration.

B.4. TECHNIQUE DEVELOPMENT CASE STUDY 2.0: ART 615 PROJECT, AALBORG UNIVERSITY, DENMARK With the process of my reverse engineering of the project quite successfully completed, I am now beginning to explore how I can change and take the form of the design further, to create and explore new forms of design. With this intent in mind, I explored ways of manipulating the overall shape of my surface, as well as the detail and aesthetics of the surface itself. I have achieved all this through manipulation with of contouring and sectioning on successfully created forms, inputting sound data to determine the form and contours of the surface, as well as by inputting varying geometries not only via the successful process of using the ‘orient’ component, but also into the ‘boxmorph’ components; with the hope of sparking new aesthetic designs that can be later used to inspire more fabricateable outcomes.

B.4. TECHNIQUE DEVELOPMENT CASE STUDY 2.0: ART 615 PROJECT, AALBORG UNIVERSITY, DENMARK

B.4. TECHNIQUE DEVELOPMENT

CASE STUDY 2.0: TESSELLATION

- A detailed close up how the visual form and structure of â&#x20AC;&#x2DC;ART615 Projectsâ&#x20AC;&#x2122; has been changed, simply through the intersection of rectangular blocks. Structurally speaking, hopefully by intersecting each block, as a collective whole the structure can physically sustain its own form and stand on its own. With this technique being successful, it demonstrates a way in which we can merge together the need for a separate structural skeleton and a separate aesthetic membrane.

- ART 615 PROJECT, AALBORG UNIVERSITY, DENMARK

I have chosen the below final outcomes for some of them are an expression of not only how sound can be expressed through a form of design, but show how simple concepts and ideas can be expressed differently. They explore the possibilities of structural form, as well as the aesthetic possibilities of the membrane, and how these two qualities can be merged into one.

- Audio was inputted to define the curves of the surface

- Sound frequency waves were extracted to define the curves on a surface

- A step forward from ART615 Projects, exploring how the blocks can intersect each other to create a self supporting form

- An interesting change in structural form, which has the potential to in a way function as a wall to support an artistic illustration on it

B.5. TECHNIQUE: PROTOTYPES PROTOTYPE 1

- STRUCTURAL SKELETON AND FORM The following prototype that I have made is pretty much the Art615 Projects; but at a smaller scale. I decided to explore this particular prototype, in order to begin exploration of the possibilities of joint constructions, as well as create a prototype that can begin to help me in exploring and defining a structural form.

B.5. TECHNIQUE: PROTOTYPES PROTOTYPE 1

- FORM ARRANGEMENT

B.5. TECHNIQUE: PROTOTYPES PROTOTYPE 2

- STRUCTURAL SKELETON AND FORM

Prototype 2; although very similar to Prototype 1 in the way it is used to serve a role in exploring structural forms, this prototype explores structural forms through a new concept of constructional joints. This prototype aims to create a prototype that is more dynamic than it is static, and therefore by making use of rotational joints, it allows the user to have flexible control in recreating different forms. I have in this prototype also carefully considered the functions and roles that materiality play in my overall form, thus creating the prototype out of 3 different materials (mdf, box board and wire). For example, by using box board for the rectilinear boxes, not only am I able to fold together a geometry, but it is strong enough to retain its shape when wedged together by a joining mechanism. Material consideration in my opinion is not only important aesthetically wise, but how a structure functions from its material composition.

B.5. TECHNIQUE: PROTOTYPES PROTOTYPE 2

- STRUCTURAL SKELETON AND FORM

360 DEGREE REVOLUTION

B.6. TECHNIQUE: PROPOSAL

SITE LOCATION [

In a remote location at Dights Falls along the Merri Creek. This site is quite pleasant in nature, and therefore is able to encourage critical thinking and reflection from it’s users, as well as serve as a shelter for artistic expressions and exploration.

ARTISTIC INSTALLATION

- TELLS A NARRATIVE THROUGH AN ARTISTIC AND POETIC RESPONSE

PROJECT BRIEF: Modern architecture is invariably as much about structure and construction as it is about space and abstract form. (Kenneth Frampton). This studio is interested in design narrative as well as discovering the beautiful and atmospherical qualities in digital fabrication. Through combination of both we aim to create poetic responses to the existing conditions of MerriCreek.

MY FINAL DESIGN PROPOSAL:

DESIGN AGENDA: To illustrate and design by harnessing and translating the various sounds that reside at both MerriCreek and the Abbotsford Convent, into either a sculptural form, or an artistic and poetic expression of the information. To create a sense of relationship between the two places.

To design and construct an artistic shelter which visually expresses a deeper meaning of the sounds of Merri Creek, as well as a provide the users with a solitary environment in which they can explore their own creative ideas. The acoustics of the shelter is designed purposely with the intent of capturing the flow of water within the shelter, creating a mediatory space within, unlocking creative explorations of the human mind.

AUDIO/SOUND EXPLORATIONS: With the structural design of my proposal possibly following the structural principles of ‘Prototype 1’, in order to add some aesthetic qualities to the project, I’ve explored and drawn inspiration from the different possible outcomes generated from using the frequency curves of sound files, as a pen and driver of design.

B.6. TECHNIQUE: PROPOSAL AUDIO/SOUND EXPLORATIONS

- EXPLORING POSSIBLE PATTERNING OUTCOMES THROUGH A DIFFERENT COMBINATION OF FACTORS; E.G. FREQUENCY WAVES, DECAY VALUES, POINT CHARGES ETC.

AUDIO/SOUND EXPLORATIONS - USING INPUTTED AUDIO FILES TO DEFINE AND GENERATE A NEW SURFACE/FORM, THAT’S DIFFERENT FROM ‘PROTOTYPE 1’

B.6. TECHNIQUE: PROPOSAL FINAL DESIGN PROPOSAL

- An internal space that captures the acoustics of sounds through its curvature form. Gradual gradient changes in form aim to sit the project softly within its landscape and setting, whilst also allowing users to be relaxed within 70

- An illustration of the sounds of the Abbotsford Convent illustrated onto the external body of the shelter. Connection between the two components can hopefully be achieved through a rod and joinery fixing, to elevated the membrane off the shelterâ&#x20AC;&#x2122;s body

The final design of the artistic installation is a unique form of shelter that acoustically captures the sounds of its environment within. In this particular case, the sound of the near by running water of Merri Creek and Dights Falls is caught and bounced around, creating in a sense a mediatory and ambient space within the shelter. With this new environment, hopefully users can relax, as well as draw inspirations in exploring new ideas for themselves. For those users simply observing the installation themselves, an artistic illustration of the sounds of the Abbotsford Convent can be visually depicted through the membrane of the shelter. 72

B.7. LEARNING OBJECTIVES AND OUTCOMES REFLECTION:

B.8. APPENDIX ALGORITHMIC SKETCHES

By undergoing the activities and exercises so far in this design studio, I have felt and in a way experienced a new perspective and approach to designing, as well as the capabilities of architecture itself. I feel that the studioâ&#x20AC;&#x2122;s current method and approach to designing is quite conceptually invigorating, for it inspires and allows for the exploration of so many creative designs efficiently (objective 2); as we can see in the matrix diagrams of Parts B.2. and B.4. Being able to explore forms and concepts of designs that we would have had previously never ventured into really broadens the possibilities and understanding of not only what can be designed, but then also our knowledge of how construction can be incorporated into bringing these designs to life. This constructional understanding for example in this studio is achieved through protoyping with digital fabricational technologies, allowing us to explore concepts at a smaller scale, before actually finalising and constructing the final project as physical models (objective 4). On an interesting note however, by completing research and explorations of different projects as well as putting myself into the position of reverse-engineering some of the projects, I have been able to actually breakdown a project and view it as an algorithm. I can in a way see and understand how each project can be made up of many different possible smaller components of algorithmic equations, and understand how each of these components flow through and work together collectively. I can understand projects as an outcome from layers and layers of individual techniques. My progress through this particular studio so far has been quite productive in regards to developing for myself the understanding between executing many different computational techniques in Grasshopper, and making them work together to create an overall result.

B.8. APPENDIX ALGORITHMIC SKETCHES

PART B - BIBLIOGRAPHY

PART B - FIGURES

“Work - The Morning Line”, Aranda\Lasch, 2016 <http://arandalasch.com/works/the-morning-line/> [accessed 29 April 2016]

Figure 1. “Work - The Morning Line”, Aranda\Lasch, 2016 <http://arandalasch.com/works/the-morningline/> [accessed 29 April 2016]

“Art615, A Pavilion By Aalborg University Students”, ArchDaily, 2010 <http://www.archdaily.com/59960/ art615-a-pavilion-by-aalborg-university-students> [accessed 29 April 2016]

Figure 2. “SJET”, Sjet.us, 2016 <http://sjet.us/MIT_VOLTADOM.html> [accessed 29 April 2016]

“POLYP.Lux By Softlab - Designplaygrounds”, Designplaygrounds, 2011 <http://designplaygrounds.com/ deviants/polyp-lux-by-softlab/> [accessed 29 April 2016] “SJET”, Sjet.us, 2016 <http://sjet.us/MIT_VOLTADOM.html> [accessed 29 April 2016]

Figure 3. “POLYP.Lux By Softlab - Designplaygrounds”, Designplaygrounds, 2011 <http://designplaygrounds.com/deviants/polyp-lux-by-softlab/> [accessed 29 April 2016] Figure 4. “Work - The Morning Line”, Aranda\Lasch, 2016 <http://arandalasch.com/works/the-morningline/> [accessed 29 April 2016] Figure 5. “SJET”, Sjet.us, 2016 <http://sjet.us/MIT_VOLTADOM.html> [accessed 29 April 2016] Figure 6. “SJET”, Sjet.us, 2016 <http://sjet.us/MIT_VOLTADOM.html> [accessed 29 April 2016] Figure 7. “Art615, A Pavilion By Aalborg University Students”, ArchDaily, 2010 <http://www.archdaily. com/59960/art615-a-pavilion-by-aalborg-university-students> [accessed 29 April 2016] Figure 8. “Art615, A Pavilion By Aalborg University Students”, ArchDaily, 2010 <http://www.archdaily. com/59960/art615-a-pavilion-by-aalborg-university-students> [accessed 29 April 2016]

PART C: DETAILED DESIGN

C.1. DESIGN CONCEPT DESIGN BRIEF

- To design an accoustic ceiling installation

LOCATION: PRIMARY SCHOOL CLIENTS: CHILDREN AGED 5-11, TEACHERS, PARENTS, EDUCTAIONAL GUESTS Research on what children see and feel: Children have a unique perspective on the world and they often require stimulus. This project is a sound defusing installation that is designed to be stimulating to the children through the colour scheme and patterning. There is a mass amount of research that suggests that interesting colours and patterned in the architecture of the building not only helps the children to be initially engaged in the learning by being in a positive working environment. We can use examples such as the Hillary Clinton Library in Arkansas in America. This library also uses functional pieces of artwork to stimulate the children and get them engaged in learning. The hopes for our project is that it will both act as a sound barrier to defuse the fun that the children thus reducing the disturbance on neighbouring classes and aiding the learning process.

SOUND PROPERTIES AND INTERACTIONS

When sound interacts with materials, 3 things occur: 1. Sound can be reflected and bounced around, causing reverberation and echoing 2. Sound can be transmitted through thinner materials, transporting the waves rather than sculpting and dissipating them 3. Sound can be absorbed by materials, trapped in stagnant air pockets or broken down by complex and rough surfaces.

C.1. DESIGN CONCEPT DESIGN PRECEDENTS Project 3: Pushing The Envelope Student work: Alex Bancu This project explores the consideration of material properties towards achieving a self-supporting design. The design process began with simple geometries generated from flat planar materials, followed by the implementation of sectioning and rotational techniques of different angles, to generate complexity. Based on this logic, the design is not only limited to a single stretching direction, but it can stack over one another to develop more complex and three-dimensional structures.

C.1. DESIGN CONCEPT DESIGN PRECEDENTS Wintergarden Façade / Studio 505 Architects: Studio 505 Location: Brisbane QLD, Australia Project Year: 2012 The richness in geometries, colours as well as composition of the Wintergarden’ Façade made the building incredibly beautiful. The complexity of the façade is formed with overlaying four layers of different distinctive patterns related to the study of nature. These layers are created by using techniques like laser and waterjet cutting, scoring, folding and lighting. A prominent feature of the façade, is the face that it changes in patterns due to the variance of sun angle from different times of the day and season. The interplay of vibrant colors and elegant patterns of each layer are attractive and compelling, and together provide a unique visual experience for visitors.

C.1. DESIGN CONCEPT INITIAL DESIGN - DEVELOPMENT AND PROCESS CREATING A SURFACE

EXTRACTING SURFACE POINTS

Design Intention: After careful consideration of not only the design’s brief of designing an acoustic ceiling feature, but also the significance of each precedent, it is within our intentions to design a ceiling feature that scatters and diffuses sounds in different directions. This aim and intention has not only taken upon the ideas of ‘Project 3: Pushing the Envelope’ in creating a self-supporting design, but also the careful application and effect of layering, as seen in the ‘Wintergarden Facade’ project.

GENERATING INDEPENDENT VECTOR DIRECTIONS AT EACH POINT

ORIENTATING A NEW SURFACE ONTO EACH OF THOSE POINTS, WITH THEIR PLANES FOLLOWING VECTOR DIRECTIONS

REDUCING DENSITY AND OVERLAPS

COMBINING ALL 3 LAYERS

C.1. DESIGN CONCEPT INITIAL DESIGN - OUTCOME

Layer 1

This design is essentially the core driver or skeleton of the design. It is the first layer and starting point for greater complexity to be generated within the design. It is at the moment composed of simple square and rectangular panels that run in 3 different directions (thus the 3 layers).

Composition of Layers 1, 2 & 3

Layer 2

Layer 3

C.1. DESIGN CONCEPT INITIAL DESIGN - ITERATIONS The following iterations of design begin to reflect and show the variances and changes that can be achieved, by changing the loft, as well as the orientation and geometries of panels. These changes can also be closely associated with the density within the design, thus techniques are employed to explore creating varying areas of concentration.

C.1. DESIGN CONCEPT INITIAL DESIGN - PROTOTYPE 1.0 With some successful explorations of the designâ&#x20AC;&#x2122;s overall form, a 3-D mass model has been generated to help provide an insight as well as idea into how the design can physically be represented in real life.

C.1. DESIGN CONCEPT INITIAL DESIGN - PROTOTYPE 1.0

The 3-D mass model generated of the design’s overall form represents nicely the gradual changes with the design’s form, as well as the effectiveness of repeating panels. The repetition provides a sense of unity, whilst the simplicity makes the design easy on its viewers’ eyes.

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C.1. DESIGN CONCEPT GENERATION OF JOINTS: SLITS STEPS BEHIND GENERATING SLITS FOR RED PIECES

INTERSECT OBJECTS

EXTRACT INTERSECTIONS

ANALYSING NEW LINE DATA

ATTAINING THE CORRECT SEGMENT OF LINE

LOFTING LINES

EXTRUDING AND CAPPING LOFT TO CREATE TRIMMING SOLID

REORGANISING DATA

OFFSETTING LINES

TRIM THE SHAPES WITH THE DERIVED SOLIDS

DIVIDING CURVE TO GENERATE MIDPOINT

EXTRUDING LINES FOR CLEAN INTERSECTION

SLITS ARE GENERATED FOR A PARTICULAR SET OF PANELS

REPEATING THE PREVIOUS STEPS TO GENERATE SLITS FOR BLUE PIECES

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C.1. DESIGN CONCEPT INITIAL DESIGN - PROTOTYPE 2.0

Prototype 2.0 explored the general connection potential of using slit joints, along with the material properties of mountboard. Mountboard was used for the properties of the material would allow for flexibility, as well as a greater margin of workability, when trying to slot together different panels at non-perpendicular angles. Other materials such as mdf were not prototyped, for the limitations of fab lab machinery couldnâ&#x20AC;&#x2122;t provide for the slits, to be cut with bevelled edges of several different directions.

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C.1. DESIGN CONCEPT INITIAL DESIGN - PROTOTYPE 2.0

Prototype 2.0 proved to provide key constructive feedback, that can now be taken into consideration for further development of the design. Mountboard is not only very workable and light, but it is quite flimsy at larger scales, and proves to lack the rigidity required in creating self-supporting designs. With these ideas in mind, rigid materials are definitely of greater preference, and in order to combat the problem of not being able to slot together panels at different angles that arenâ&#x20AC;&#x2122;t perpendicular, a new joint needs to be designed. It is necessary to design a joint that re-orientates the slot connection of different panels.

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DESIGN PRECEDENTS FOR JOINTS

Plate Pavilion Designers: Steve DeMicoli, Toni Kontik Location: University of Malta With the aid of computational design, plywood panels are taken into consideration during the design process of the Plate Pavilion, to create a vault like structure that is structurally stable, purely based on the force of nature. Each wooden panel is support by another panel through interlocking techniques, removing the need to apply additional adhesive. The panels are drilled with holes to allow for another panel to pass through, whilst a piece of wood is wedged from the opposite side; to fix the panels in place.

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DESIGN PRECEDENTS FOR JOINTS ZA11 Pavilion Designers: Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan Location: Cluj, Romania Project Year: 2011 The ZA11 Pavilion was a sheltering space, designed to not only be iconic, but at the same time offer its visitors with an engagement to the historical context of Cluj Romaniaâ&#x20AC;&#x2122;s, ZA11 Speaking Architecture Event. The whole design is based on simple geometries, and is a reflection of parametric design, as computational design techniques were used in the design process to not only create a design that can not only fit within the limitations of material and tools, but also within the available budget and time constraints. In the process behind constructing the pavilion, careful consideration of changing the thickness of wooden panels, to receive extra flexibility was implemented along with hexagonal disc joints. These hexagonal disc joints join pieces from three different angles to form a rigid structure; which is what we would like to adopt in our own design.

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Screw Joint

PROTOTYPING OF NEW JOINTS Workability of Paper Clip Joints

Cable Tie Joint

Steel Wire Joint

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GENERATION OF JOINTS: JOINT FOR SLITS STEPS BEHIND GENERATING THE DISC JOINTS WITHIN SLITS

INTERSECT PANELS

LOFT AND CAP OFFSETTED CURVES

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EXTRACT INTERSECTION MID POINTS

TRIM CAPPED SOLIDS WITH INTERSECTING AREAS OF PANELS

OFFSET CURVES AROUND MIDPOINTS

DISC JOINTS FOR SLITS ARE COMPLETE

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GENERATION OF JOINTS: DISC PROTOTYPE

These images illustrate how the newly developed disc joints contribute towards the construct ability of the design. They provide rigidity, as well as a controlled re-orientation of intersecting panels at the different connections. 116

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C.2. TECTONIC ELEMENTS & PROTOTYPE BUILDING COMPLEXITY ON THE ‘CORE CONSTRUCTION’ ELEMENT REDUCING DENSITY AND OVERLAPS

GENERATING SEPERATE LAYERS

ROTATING AND ORIENTING NEW SHAPES AND GEOMETRIES FOR EACH SEPARATE LAYER

COMBINING ALL LAYERS

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The process of this diagram is only a partial representation of how complexity is incorporated into the design. By breaking up and making each smaller component unique, an essence of disjunct continuity and patterning is produced. This process is later continued to compose all 30+ layers of Final Design 1.0’s Panels. 119

C.2. TECTONIC ELEMENTS & PROTOTYPE

In the process of designing new panels, alterations and changes are only made towards the areas that are not integrally important to the parent design ‘Initial Design - Outcome’.

PROCESS BEHIND CREATING NEW PANELS FOR BUILDING COMPLEXITY As mentioned earlier in the diagram that explains how complexity is built on the ‘core construction’ elements within different layers, one of the key elements of the process was introducing new panels. These new panels are only made possible from the analysis of the design’s original and parent panels; the rectangular/square panels of ‘Initial Design - Outcome’. This is because given the design was already successful, it is possible by assessing the limitations and potential of change, to make the appropriate choices towards advancing the design. In the case of this design for example, from the assessment of each individual square and rectangular panel, it is only logical that in order to refrain from jeopardising the workability of the current design, changes can only be made in the appropriate areas. These appropriate areas are not the intersection points of the rectangular/square panels, for it will avoid jeopardising the workability of the overall design. With this in mind, changes can be comfortably made to appropriate areas, knowing that the already existing workability of the design is not jeopardised. With this analysis and consideration of changes, the overall outcome of the design has in a way been generated from itself, and from within. The design is an outcome of its content and information.

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C.2. TECTONIC ELEMENTS & PROTOTYPE FINAL DESIGN 1.0

-A collection and combination of all the strategic changes and implementations that have been incorporated into the initial parent design of â&#x20AC;&#x2DC;Initial Design - Outcomeâ&#x20AC;&#x2122;. A new sense of complexity, variance, as well as character is introduced.

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FINAL DESIGN 1.0 - A NEW OVERALL FORM Given the incorporation of so many abstract shaped panels, the overall shape and form of the final design has also been altered. This change has been introduced to achieve a sense of unity between the overall form, and its individual panels; just as mass model prototype 1.0 exhibited.

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FINAL DESIGN 1.0 - A NEW OVERALL FORM

Although the overall final form of ‘Final Design 1.0’ is now finalised, there is still opportunity with colour... 126

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Iterations of how ‘De Stijl’ can be incorporated into the design...

APPLICATION AND COORDINATION OF COLOUR ‘De Stijl’ ‘De Stijl’ was an avant-garde movement that espoused a visual language consisting of precisely rendered geometric forms - usually straight lines, squares, and rectangles - and primary colours. These motifs, along with the intentions of avoiding symmetry, strove for a balanced relationship between surfaces and the distribution of colors.

Why ‘De Stijl’? To inherit the ‘De Stijl’ use of primary colours and simple geometric forms within our design, we aim to withhold and offer a sense of secrecy, offering yet again to each particular viewer, a unique perception. The design will not only illustrate to children the importance of primary colours as well as the potential of its use, but to those who have been exposed to the knowledge of ‘De Stijl’, they can appreciate how ‘De Stijl’ has been so subtly incorporated into the design. This subtle hint in a way offers to only a particular audience, this ‘De Stijl’ experience.

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APPLICATION AND COORDINATION OF COLOUR

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APPLICATION AND COORDINATION OF COLOUR The following images show examples of how colours have been assigned to particular panels. They show how these assignments achieve their goal of re-creating the strong horizontal and vertical elements of ‘DeStijl’, but in a diffused manner.

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PERSPECTIVE COLOUR CHANGES The following example of images aim to show the different visual perceptions that are offered by the design, towards its audience. These varying perceptions are a result of the colour allocations of each panel, as well as dependent on their individual positioning of visual perspective. These images reflect the complexity of colour allocations within the design, as well as its role in representing the avant-garde qualities of ‘De Stijl’. With careful analysis of each perspective, various different colours are visually stronger and present over others, whilst lines of horizontal and vertical nature change in different directions, as well as colour. By visually representing the colours as well as horizontal and vertical qualities of ‘De Stijl’ in a diffused manner, the design achieves its aim of allowing each of its audience to have their own unique take of the design’s ‘De Stijl’ qualities; without having it forced upon them.

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PERSPECTIVE COLOUR CHANGES

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FINAL DESIGN 1.0 COLOURED

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FINAL DESIGN 1.0 COLOURED

The overall design aims to be very versatile, being appropriate for a variety of primary school settings.

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FINAL DESIGN 1.0 - SECTIONS AND ELEVATIONS North Elevation

West Elevation

Plan View

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South Elevation

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FINAL DESIGN 1.0 - PROTOTYPE

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C.2. TECTONIC ELEMENTS & PROTOTYPE FINAL DESIGN 1.0 - MATERIAL RESEARCH

Durability

Acoustic foam

Standard Plasterboard

Very Poor

Good

Polypropylene sheet Good

Acrylic Good

Echo panel Very Good

Copper Sheet Very Good

Acoustic resistance Fire resistance

Acceptable

Very Poor

Weight

Very Light

Acceptable

Very Light

Half the weight of glass

Appearance

Initial Cost

Durability

Scrach can easily destroy the foam but without affecting its performance Acceptable

Further finishing is required Acceptable

Available in opaques or translucents with a wide range of colors Cheap

Aluminium sheet

Wide range of colors and able to diffuse light to create stunning visual effects. Cheap

Standard MDF Board

PVC Foam Sheet

Cork Sheet

Good

Very Poor

Very Good

Good

Acceptable

Poor

Acceptable

Very Light

Heavy

Acceptable

Poor

Light

Heavy

Fabric like finish surface Expensive

Polystyrene Sheet Very Poor

Smooth surface and not prone to rusting Expensive

Polycarbonate Panel Very Good

Acoustic resistance Fire resistance Weight Appearance

Initial Cost

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Self Extinguishing Very Light Available in wide range of colors Acceptable

Grain texture and pinnable surface Cheap

Smooth surface and not prone to rusting Expensive

Heavy Further finishing is required Acceptable

Very Poor

Poor

Very Light

Half the weight of glass

Smooth surface and sparkle appearance

Highly transparent to visible light, with better light transmission than many kinds of glass

Cheap

Acceptable

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Material - EchoPanel

1. Soft drink and detergent bottles made consumers 2. Contaminents like lids and sticky labels are removed. Bottles are chipped into tiny pellets

3. Pellets are washed and sanitised 4. Pellets and colour are fed into a hopper. A heater at the base of the hopper melts the pellets resin 5. Resin is pumped through a sophisticated shower-rose device, known as a spinneret

FINAL DESIGN 1.0 - FINAL MATERIAL VERDICT

6. Cold air fans set the the spinneret

7. Fibres are drawn and cut and are blended into a web STREAMLINED

The material we have chosen to use is Woven Imageâ&#x20AC;&#x2122;s EchoPanels, for the following reasons: o It is made up of recycled PET Polymer o It meets and exceeds human ecological requirements and is certified by TESTex, a leading body in environmental textile accreditations o There are no harmful effects in the colouration of EchoPanels, for all the dyes used stay in the solution and become fibre, so that there is no waste. o Woven Image will take back product at the end of its life as well as recycle uncontaminated EchoPanel off cuts, which means that there will be little to no wasted material during the fabrication process. o The boards are also lighter than other building materials, weighing one third of the weight compared to products such as plaster board and MDF o And finally 45% of the sound that comes into contact with EchoPanels is absorbed, while the remaining 55% would be reflected back into the classroom.

8 Web is compressed and cut ready for use

PROJECTED COST 1200mm BREAKDOWN 574 Total Panels @ 150mm x 150mm 128 Panels per sheet Total sheets needed: 5 Based on the colour scheme and @ 12mm: 2400mm

Echo Panel: Black $104.50 Off White $152.73 Red: $193.73 Sunshine: $178.38 Mid Blue: $179.38 Approx. Total Projected Cost of Panels: $809 Metal or wood fixtures suspension are varied, depending on the structural specifications of the roof.

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FINAL DESIGN 1.0 COLOURED - PROTOTYPE Given the cost of echo panels, felt has instead been applied onto MDF boards, as a visual representation of the 1:1 scale ‘Final Design 1.0 Coloured’ model.

In order to express the possibility of suspednding and fixing the overall design as well as this prototype to a ceiling, a metal fixing has been incorprated into the panels.

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FINAL DESIGN 1.0 PROTOTYPE MASS MODEL This newer version of the final designâ&#x20AC;&#x2122;s mass model is quite different to the last, in particular; form. The form has lost its sense of gradual gradient changes (partly due to the fact that the previous design had a height of 2.5 meters), appearing not as dynamic. Despite this loss of quality, the effects of varying panels appear to still work, along with this new and abstract like form, that looks like a panel itself.

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C.2. TECTONIC ELEMENTS & PROTOTYPE DESIGN PRECEDENTS Pixel Building Architects: Studio505 Location: Melbourne, Victoria, Australia The Pixel Building is Australia’s first carbon neutral office building, generating all its own power and water on site, and serves as a prototype for future offices, as a zero carbon building. The eye catching colorful façade is significant in different ways, as it does not only serves as a composite passive device to provide planters, fixed shading louvers and solar panel shading, but in terms of the geometry of all the panels, a complex logic has been built and employed. This complex logic is what I aim to take from this building, for it has showed a great consideration towards material use and wastage. The irregular polygons that have been used throughout the facade of the building interestingly can be pieced together, to form a unified rectangular piece of no wastage (as seen in diagrams over the next couple of pages). The patterning system of the colorful façade interestingly doesn’t serve only aesthetically, but is a concept that responds to sustainable design.

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Final Design 2.0 - New panels inspired by Pixel Building

FINAL DESIGN 2.0 - CHANGES FROM FINAL DESIGN 1.0 Final Design 1.0 - Loft

Final Design 2.0 - Loft

As shown in the above images, changes has been made towards the design choices of each panelâ&#x20AC;&#x2122;s geometry. The new focus and drive is inspired by the Pixel Building, instilling within our design, qualities of sustainable design.

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FINAL DESIGN 2.0 - FINALISED DISC JOINTS

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FINAL DESIGN 2.0 - SECTIONS & ELEVATIONS

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South Elevation

North Elevation

East Elevation

West Elevation

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C.2. TECTONIC ELEMENTS & PROTOTYPE FINAL DESIGN 2.0 PROJECTED COST 1200mm BREAKDOWN 845 Total Panels @ 200mm x 200mm 72 Panels per sheet Total sheets needed: 12 Based on the colour scheme and @ 12mm: 2400mm

Echo Panel: Black $104.50 Off White $152.73 Red: $193.73 Sunshine: $178.38 Mid Blue: $179.38 Approx. Total Projected Cost of Panels: $1940 Metal or wood fixtures suspension are varied, depending on the structural specifications of the roof.

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C.4. LEARNING OBJECTIVES AND OUTCOMES POTENTIAL DESIGN DEVELOPMENTS Reassessing where ‘Final Design 2.0’ is currently at, improvements as well as further considerations of the design can be made. Some of these considerations include the alteration of the final form and positioning of panels to respond to actual incoming sound; which can be analysed and recorded at the site. This analysis of data can therefore act as precedent behind the design’s form, as well as serve the function of potentially projecting the sounds generated by teachers, and minimising the sounds of students in classroom environments. By potentially identifying which panels actually function acoustically to absorb or project sounds, a varying selection of materials can also be incorporated alongside EchoPanels. This can also potentially also reduce the overall cost of materials, for EchoPanels will not be required for every panel. If there was further time and opportunity, I would personally not only like to create more complex panels that still fit together and minimise waste, but stack together more layers of panels within the design.

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REFLECTION After undergoing the processes of designing through the role and process of computation throughout Design Studio Air, I look back and happily acknowledge not only the skills that I have learnt, but the broadening of my understanding behind the limitations and possibilities of design. Prior to partaking in computational design, I was definitely unaware of not only its possibilities in bringing designs alive, but what computational design actually entailed. I now have not only gained this understanding, but have also realised the importance of human control, and the limitations of designing through computation. This is because at the end of the day, it is important that what has been designed, can be made. This is the whole purpose, as well as art of designing. Today, it is very easy to allow modern day technology and software to compute and dictate our designs freely, whilst taking away the designers ability to have full control, in order to actually design, and not be designed. This is an essential piece of understanding that I have learnt from my participation within this subject, as it will continue to remind me that I am the designer, and that modern technology and software are only tools. We as designers must understand how to use these tools effectively, in order to gain the best results. We are today very fortunate to have the technology to be able to design at new efficiency, and its important that we understand the balance between our relationship and engagement with these privileges. Computational design isn’t simply about making out of whack designs, for it is a process and technique that designers can use to make some of the things that seem impossible possible, as well as use it as a gateway to exploring new possibilities of design.

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