Weerasinha isurie 761387 partb final by Isurie Weerasinha

STUDIO AIR 2017, SEMESTER 1 FINNIAN WARNOCK ISURIE WEERASINHA 761387

STUDIO AIR CONTENTS 4

PART A: CONCEPTUALISATION

A1 DESIGNING FUTURING

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A1.1 CASE STUDY - ALGAE CANOPY

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A1.2 CASE STUDY - HARBIN OPERA HOUSE

A2 DESIGN COMPUTATION

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A2.1 CASE STUDY- GUANGZHOU OPERA HOUSE

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A2.2 CASE STUDY- ICD/ITKE RESEARCH PAVILION 2015-16

A3 COMPOSITION/ GENERATION •

A3.1 CASE STUDY -SHENZHEN BAO’AN INTERNATIONAL AIRPORT

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A3.2 CASE STUDY - INFINITY TOWER DUBAI

A4 CONCLUSION

A5 LEARNING OUTCOMES

A6 APPENDIX - ALGORITHMIC SKETCHES

BIBLIOGRAPHY

IMAGE REFERENCES

PART B: CRITERIA DESIGN

B1 MAPLE LEAF SQUARE CANOPY CASE STUDY

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CASE STUDY 1.0 ITERATIONS: ARANDA LASCH THE MORNING LINE

ITERATIONS: SPANISH PAVILION

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ITERATIONS: MATSYS GRID-SHELL

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ITERATIONS: voltdom

B3 CASE STUDY 2.0

INTRODUCTION

RESEARCH FIELD

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CASE STUDY - ICD/ITKE RESEARCH PAVILION 2011

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REVERSE ENGINEERING

B4 TECHNIQUE DEVELOPMENT MATRIX

INTRODUCTION

Hi there, my name is Isurie Weerasinha. I am currently in my third year of study in the Bachelor of Environments, majoring in architecture and property. After commencing my degree in 2015, I decided that both property and architecture complimented each other well and enhanced my knowledge of the industry. Although the workload is often immense, it is enjoyable. Currently while studying I am working as a retail assistant for typo. This role has taught me time management and the importance visual design in appealing to an audience. I have completed studio earth but due to my study timetable I was unable to complete studio water or ddf which impacted on my level of knowledge of rhino. But for the past weeks I have been attempting to learn the program. I do however have experience in adobe illustrator, Photoshop, sketch up and auto cad. I am quite enthusiastic about going into this year, learning new software and knowledge which will assist me in my career.

EARTH CONCEPT

PART A: CONCEPTUALISATION

A1 : DESIGNING FUTURES

"IT IS NOW EASIER FOR US TO

IMAGINE THE END OF THE WORLD THAN AN ALTERNATIVE TO CAPITALISM. YET ALTERNATIVES ARE EXACTLY WHAT WE NEED. WE NEED NEW DREAMS FOR THE TWENTY-FIRST CENTURY AS THOSE OF THE TWENTIETH CENTURY RAPIDLY FADE."1 -FEDRICK JAMESON

1 DUNNE, ANTHONY & RABY, FIONA (2013) SPECULATIVE EVERYTHING : DESIGN FICTION & SOCIAL DREAMING (MIT PRESS) , P4

A1 .1 CASE STUDY- ALGAE CANOPY A London based ecological studio, Claudia Pasquero and Marco Pletto proposed a new version of future bio-digital architecture for expo Milano 2015.

This is a perfect example of the alternative twenty-first century dreams that architects and designers should be striving towards to protect the planet we live in.

"OUR TIME ON EARTH IS DETERMINED BY OUR ABILITY TO UNDERSTAND THE PRESENT AND ACT ACCORDINGLY TO REACH A DESIRED FUTURE."1 The project integrates technological advances of the 21st century with the natural environment of the modern time. As humans we are part of this natural environment, hence this project works toward the way in which humans can assist the slow rehabilitation of nature. This canopy, is a transparent bio-digital structure filled with micro Algae organisms to provide shade for visitors below while at the same time producing large amounts of oxygen. The algae is a fluid that responds accordingly to the presence of visitors. As humans walk through the area of the canopy, electro valves are triggered altering the speed at which the Algae flows through the Canopy. 2

FIG. 1: GROUND SURFACE ON CANOPY

The canopy also responds to the weather. For example, when the sun is shining intensely, the algae would photosynthesise and grow. In turn reducing the transparency of the canopy and providing much needed shade. Projects such as this inspires designers to search beyond the present forms of architecture. Whilst this project has not been built it is positive step towards integrating technology with nature as it is in the 21st century. The completed canopy will ‘produce the oxygen equivalent of 4 hectares of woodland and up to 150kg of biomass per day, 60% of which are natural vegetal proteins’.

FIG. 2: GROUND SURFACE AND FRAMING CANOPY

It is nearly impossible achieve the level of benefits through traditional means, yet again highlighting the importance of using technology as a means to better our current standards. 1 DUNNE, ANTHONY & RABY, FIONA ‘SPECULATIVE EVERYTHING : DESIGN FICTION & SOCIAL DREAMING’ (MIT PRESS,2013) , P4 2 BLAIN, LOZ , ‘ URBAN ALGAE CANOPY WILL GENERATE A 4-HECTARE FOREST’S WORTH OF OXYGEN’ NEW ATLAS( MAY 2015) <http://newatlas.com/urbanalgae-canopy-milan-expo/37480/> [ 6 MARCH 2017] FIG. 3: ADDITION OF SUPPORTING SURFACE OF CANOPY

FIG. 4: COMPUTER GENERATED 3D MODEL OF CANOPY

FIG. 5: INTERIOR OF CANOPY AND MOOD CAPTURING

A1 .2 CASE STUDY- HARBIN OPERA HOUSE The Harbin opera house designed by Mad architects, was completed in October 2015. Situated in the wetlands of the northern regions of china, the construction at its peak stands at 56 meters. Harbin opera house was designed in response to the climate in the region. It’s curvaceous exterior, topography and luxurious interior are used as a means to blend into and feel closer to nature. Smooth white aluminium panels were used for the exterior of this building helping the structure to camouflage during the snowy winter months. The glass roof represents the ice of the frigid climate while the white surface represents the soft snow.

As designers we should be striving to combine the ideas of both the opera house and the algae canopy. Environmentally friendly design is not necessarily a piece of cake. Architects must also account for human wants and needs, such as comfort. Designing sustainably should not deduct human needs and wants rather enhance it.

This particular project serves the purpose of being a cultural centre which integrates humans, art and city identity. The construction is very much the icon of the city attracting visitors far more than prior to its existence. The structure is impressive in its use of technology and materials. Technology has been used to design each element of this building to suite the natural climate of the region as well as materials. Each material serves a purpose. The bent planks of Manchurian wood has good acoustic qualities whilst marble floors of the building are equipped with heating for cold winter months.

FIG. 6: CURVILINEAR FACADE CONTAINING ALUMINIUM PANELS AND GLASS

Unlike the algae canopy this particular structure does not use architecture as a means assist the rehabilitation of nature, rather attempts to blend a large architectural construction with nature. It is the juxtapositioning of the built environment and the natural environment. Although the project focuses on providing a comfortable environment to users and a means for humans to feel closer to nature in a safe environment. It is should not be seen as the alternative design techniques that we are searching for. 1

FIG. 7: TIMBER FINISH INTERIOR OF THEATRE

1 KESKEYS, PAUL ‘ NATURAL POETRY: MAD’S HARBIN OPERA HOUSE APPEARS SCULPTED BY WIND AND WATER’ ARCHITIZER ( 22ND DECEMBER 2015) <http://architizer.com/ blog/mad-harbin-opera-house/> [ 7TH MARCH 2017]

FIG. 8: VIEW OF OPERA HOUSE FROM THE TOP

FIG. 9: SIDE VIEW OF OPERA HOUSE SHOWING CURVACEOUS FEATURES AND JAGGED GLASS

FIG. 10: SMOOTH MARBLE INTERIOR, SHOWING HOW LIGHT IS REFLECTED IN THE SPACE

A2: DESIGN COMPUTATION

"FORMATION PRECEDES FORM, AND DESIGN BECOMES THE THINKING OF ARCHITECTURAL GENERATION THROUGH THE LOGIC OF THE ALGORITHM"

A2.1 CASE STUDY- GUANGZHOU OPERA HOUSE Zaha hadid’s Guangzhou opera house is a design evolved from concepts of the natural landscape . Especially influenced by the principles of geology, erosion and topography. While previously such fluidity and exploration was limited , parametric design and computation has allowed architects to push boundaries through algorithms. The opera house has taken the principle of erosion and adapted it through computation. The facade design uses folding triangular lines to allow light into the building & visualisation of river valleys eroding assisted in the parametric design. The amount of light allowed into the building can now be altered through the technological software, allowing efficiency in the development process.1 Geology has furthermore helped shape the structural forms within the building. Dissimilar objects are altered leading to the distortion of form. In order to do this, experiments would have to be carried out and effectively the results of these, will be used to create an algorithm that dictates the built form. “the integration of digital materiality and performative analysis now theoretically enables such a potential for a contemporary tectonic expression to be derived from the technologies of material design and fabrication”2

FIG. 11: EXTERIOR OF OPERA HOUSE DURING THE NIGHT

FIG. 12: INTERIOR PARAMETRIC DESIGN

Formation precedes form as parametric design is dependent on relationships between objects, changing one particular element or changing the values of its parameters will therefore change the entire building. This freedom allows for buildings to have fluidity and opens the doors for innovative design.

1 PEI MIN CHUA ‘ADVANCED BUILDING TECHNOLOGY’ ( 12TH JUNE 2014) <http://emmelynchua.blogspot.com.au/2014/06/ week-7-lure-of-continuous-skin.html> [ 12TH MARCH 2017]

2 oxman,rivika, oxman, robert, ‘the theories of the digital in architecture’ (Routledge, taylor and francis group, london & Newyork, 2014)

FIG. 13: INTERIOR OPERA HOUSE

FIG. 14: INTERIOR FINISHES AND LIGHTING

A2.2 CASE STUDY-ICD/ITKE Research Pavilion 2015/2016

“ Material experimentation and innovation such differentiated fields includes the ability to modulate conditions of the porosity of materials surfaces, and potential control of light penetration and so on.” 1The research pavilion 2015-2016 uses research on sea urchins to inspire the construction method of timber plate shells. The exploration of timber is conducted through a series of experiments which is then transferred into software to produce a full scale model as can be seen in fig. 16 and 17. Computation design facilitates natural design though allowing to learn from it ,rather than just imitating its design. The pavilion uses thin pieces of wood strips. These strips are custom laminated so that the grain direction and thickness relates to different stiffness required for parts with varying radii. Programs such as grasshopper can be used during the computation process to integrate different numbers into a complete structure. This case study emphasizes how formation precedes form, with the exploration of materialism through digital architecture. Computation is a new logic of architectural design through the use of algorithms.2

FIG. 15 : SHELL STRUCTURE INVESTIGATION

FIG. 16: MATERIAL AND JOINT INFORMATION THROUGH COMPUTATION

1 oxman,rivika, oxman, robert, ‘the theories of the digital in architecture’ (Routledge, taylor and francis group, london & Newyork, 2014) FIG. 17: STRUCTURAL ANALYSIS

2 ACHIMMENGES, ‘ ICD/ ITKE RESEARCH PAVILLION 2015-2016’ (2016) <http://www. achimmenges.net/?p=5822> [ 12TH MARCH 2017]

FIG. 18: FINISHED PROJECT

A3: COMPOSITION/GENERATION

" THE DESIGN ENVIRONMENT OF WHICH THE ARCHITECT IS PART AUTHOR, MUST BE FLEXIBLE AND HAVE THE ABILITY TO ACCOMMODATE CHANGE"

A3.1 CASE STUDY- SHENZHEN BAO'AN INTERNATIONAL AIRPORT

The development in digital technologies has been embraced by architects as it allows a faster and efficient ways to design. Architects continue to use programs such as CAD and other 3D modelling software as a way to translate known objects into buildings. This process is known as computerisation. Computerisation in a sense does not use the full capabilities of the technological advances as it is just being used a means to ‘display’ architecture. 1 To utilise computer software and advancement in technology to its full extent, architects must learn the language of computers. Essentially have the ability ‘to sketch by algorithms,an algorithm is a particular set of instructions’2 This is called computation. Architects must have the ability to adapt to the technology available to create a structure that are at par with the level of sophistication achieved by software. Shenzhen Bao’an International airport is an example of computation design where architects have sketched through algorithms. This particular structure used parametric modelling to control the size and slope of openings, which were adapted to meet daylight requirements, solar gain and viewing angles. The building also consists of 60,000 different facade elements and 400,000 individual steel members.3 This is a great example of what can be achieved through computation.4

FIG. 19 : THE HONEYCOMB SKIN CREATES A DYNAMIC PATTERS OF LIGHT ON THE INTERIOR OF THE TERMINAL

FIG. 20: THE DOUBLE-SKIN THAT ENVELOPES TERMINAL IS COMPOSED OF METAL AND GLASS PANEL WHICH CAN BE PARTIALLY OPENED

1 Peters, B & Peters, T,’ Inside smart Geometry, Expanding the architectural possibilities computation design’, (Chinchester; John Wiley & sons inc.2013) 2 Peters, Brady, 2013, ‘Computation works: the building of Algorithmic THought’ Architectural Design, 83,2, pp.10 3 Peters, Brady, 2013, ‘Computation works: the building of Algorithmic THought’ Architectural Design, 83,2, pp.15 4 Design boom studio ‘fuksas expands shenzhen bao’an international airport’(November 2013)<http://www.designboom. com/architecture/studio-fuksas-expands-shenzhen-baoaninternational-airport-11-22-2013/> [acess date 16th march 2017]

FIG. 21 : INTERIOR OF AIRPORT

FIG. 22: EXTERIOR OF AIRPORT FIG. 18: FINISHED PROJECT

FIG. 23 : INTERIOR ROOF CLADDING OF AIRPORT

A3.2 CASE STUDY- INFINITY TOWER

Whilst the changed technology means that architects have to change and adapt to fit in with current technological advances, It does not mean all architecture must turn to the computation. In fact ‘not all functions are computable so not all functions are algorithmically describable’.1 There are limitations within the process of creating algorithms, the traditional means of architecture will exist in the future even if it is not as prominent to make up for these particular limitations. The infinity tower in Dubai is a great example of a project using computation as means for design, The stepping of the perimeter columns in this particular building became its architectural expression. As the tower has a twisted facade there was an importance in the architecture and structural engineer working closely together. ‘ Algorithms was critical to the success of this structure. It provided analysis and visualisation of structural forces2

1 2

Dietrich, Eric, ‘Algorithm’ The MIT Encyclopedia of Cognitive Sciences ( London: MIT press), pp 11,12 Peters, Brady, 2013, ‘Computation works: the building of Algorithmic THought’ Architectural Design, 83,2, pp.15 FIG. 24 : VIEW OF THE INFINITY TOWER FIG. 21 : INTERIOR ROOF CLADDING OF AIRPORT

FIG. 25 : CLOSER VIEW OF THE INFINITY TOWERS TWISTED DESIGN

A4 -CONCLUSION

Part A explores architectural development through technological improvements available in the 21st. Rather the traditional use of computers as a tool to display a finished product, it can now be used to sketch through algorithms . The founding of algorithmic and computational processes in architecture has completely transformed the way in which architecture is viewed today. Hence the possibilities of what can be achieved through architecture has broadened. Not only can you produce aesthetic designs, you can also produce designs which are environmentally friendly, cost efficient and structurally sound. I intend to design by gaining inspiration from the natural environment. By using software programs, we can produce not only environmentally friendly but also structures which may act to assist nature in its rehabilitation.

FIG 26 : PARAMETRIC MODELLING- DANIEL GILLEN

A5- LEARNING OUTCOMES

At the beginning of the semester I had very limited prior knowledge of Rhino and grasshopper. As the semester continued I have become more confident in these two programs. I have learnt various functions and ways in which to create different designs. This process of designing through computation has opened my mind to new design possibilities that could not be sketched using traditional methods. You have the ability to create complex structures with simple elements, whilst still maintaining an aesthetic intent. I have learnt that nature can be integrated into parametric design, which is a key aspect of todaysâ&#x20AC;&#x2122; architecture. I particularly enjoyed the â&#x20AC;&#x2DC;speculative everythingâ&#x20AC;&#x2122; reading by Dunne and Raby. I believed many of the things said in that reading is very relevant to the world we live in now, discussing how the world is having trouble adapting to combat the dangers we face today. Whilst computation architecture is still limited in what it can do , it is a great tool that can be used for sustainable and efficient design for the years to come.

A6- ALGORITHMIC SKETCHES

These sketches have been included in my journal because I believed they represented the best, what I have learnt in the past three weeks. Both these sketches are one single elements which has been manipulated to make a complex form. Although it is possible for methods such computerisation and hand drawing to achieve these complex forms, it would take hours and perhaps days. Through computation these sketches were developed in a matter of minutes. Emphasizing the efficiency of this technology and what can be achieved through them.

BIBLIOGRAPHY ACHIMMENGES, ‘ ICD/ ITKE RESEARCH PAVILLION 2015-2016’ (2016) <http://www.achimmenges.net/?p=5822> [ 12TH MARCH 2017] ARCH DAILY, ‘ HARBIN OPERA HOUSE/ MAD ARCHITECTS’ ARCH DAILY (16TH DECEMBER 2015) <http://www. archdaily.com/778933/harbin-opera-house-mad-architects> [ 7TH MARCH 2017] BLAIN, LOZ , ‘ URBAN ALGAE CANOPY WILL GENERATE A 4-HECTARE FOREST’S WORTH OF OXYGEN’ NEW ATLAS( MAY 2015) <http://newatlas.com/urban-algae-canopy-milan-expo/37480/> [ 6 MARCH 2017] DAVIS, DANIEL, ‘ THE NEXT GENERATION OF COMPUTATIONAL DESIGN’ ARCHITECT ( 31ST JULY 2015) <http://www. architectmagazine.com/technology/the-next-generation-of-computational-design_o> [12TH MARCH 2017] Design boom studio ‘fuksas expands shenzhen bao’an international airport’(November 2013)<http://www.designboom.com/architecture/studio-fuksasexpands-shenzhen-baoan-international-airport-11-22-2013/> [access date 16th march 2017] Dietrich, Eric, ‘Algorithm’ The MIT Encyclopedia of Cognitive Sciences’ ( London: MIT press), pp 11,12 DUNNE, ANTHONY & RABY, FIONA ‘SPECULATIVE EVERYTHING : DESIGN FICTION & SOCIAL DREAMING’ (MIT PRESS,2013) , P4 ECOLOGICAL STUDIOS, ‘ALGAE CANOPY’ ECOLOGICSTUDIO ( 1ST OCTOBER 2014) <http://www.ecologicstudio. com/v2/project.php?idcat=3&idsubcat=59&idproj=137> [ 6 MARCH 2017] KESKEYS, PAUL ‘ NATURAL POETRY: MAD’S HARBIN OPERA HOUSE APPEARS SCULPTED BY WIND AND WATER’ ARCHITIZER ( 22ND DECEMBER 2015) <http://architizer.com/blog/mad-harbin-opera-house/> [ 7TH MARCH 2017] MAD ARCHITECTS, ‘HARBIN OPERA HOUSE’, ARCHELLO ( 2ND APRIL 2014) <http://www.archello.com/en/project/harbin-opera-house> [ 7TH MARCH 2017] MAD ARCHITECTS, ‘ HARBIN OPERA HOUSE’ MAD <http://www.i-mad.com/work/harbin-cultural-center/?cid=55> [7TH MARCH 2017] oxman,r, oxman, r, ‘the theories of the digital in architecture’ (Routledge, taylor and francis group, london & Newyork, 2014) PEI MIN CHUA ‘ADVANCED BUILDING TECHNOLOGY’ ( 12TH JUNE 2014) <http://emmelynchua.blogspot. com.au/2014/06/week-7-lure-of-continuous-skin.html> [ 12TH MARCH 2017] Peters, Brady, 2013, ‘Computation works: the building of Algorithmic Thought’ Architectural Design, 83,2, pp.15 SENO, ALEXANDRA, ‘HARBIN OPERA HOUSE’ ARCHITECTURAL RECORD (1 DECEMBER 2016) <http://www. architecturalrecord.com/articles/11368-harbin-opera-house> [ 7TH MARCH 2017] ZAHA HADID ARCHITECTS ‘GUANGZHOU OPERA HOUSE’ <HTTP://WWW.ZAHA-HADID.COM/WP-CONTENT/FILES_MF/GUANGZHOUOPERAHOUSE.PDF> [12 TH MARCH 2017]

IMAGE REFERENCES FIG 1- 5 : BLAIN, LOZ , ‘ URBAN ALGAE CANOPY WILL GENERATE A 4-HECTARE FOREST’S WORTH OF OXYGEN’ NEW ATLAS( MAY 2015) <http://newatlas.com/urban-algae-canopy-milan-expo/37480/> [ 6 MARCH 2017] FIG: 6-10: KESKEYS, PAUL ‘ NATURAL POETRY: MAD’S HARBIN OPERA HOUSE APPEARS SCULPTED BY WIND AND WATER’ ARCHITIZER ( 22ND DECEMBER 2015) <http://architizer.com/blog/mad-harbin-opera-house/> [ 7TH MARCH 2017] FIG 15-18: ACHIMMENGES, ‘ ICD/ ITKE RESEARCH PAVILLION 2015-2016’ (2016) <HTTP://WWW.ACHIMMENGES.NET/?P=5822> [ 12TH MARCH 2017] FIG 19-23 : Design boom studio ‘fuksas expands shenzhen bao’an international airport’(November 2013)<http://www.designboom. com/architecture/studio-fuksas-expands-shenzhen-baoan-international-airport-11-22-2013/> [access date 16th march 2017] FIG 24-25: SOM ‘ IN PROGRESS INFINITY TOWER’ ( FEBRUARY 2013) <http://www.archdaily.com/331128/ in-progress-infinity-tower-som> [ ACCESS DATE 16TH MARCH 2017] FIG 26: DANIEL GILLIEN ‘ PARAMETRIC DESIGN’ < http://www.archdaily.com/618422/are-computers-bad-for-architecture> [ ACCESS DATE 16TH MARCH 2017]

PART B: CRITERIA DESIGN

B.1: RESEARCH FIELDS

BIOMIMICRY: Biomimicry is a design technique which uses digital software to mimic biological processes, and transfer this into the built environment. The complex interweaving of living and non living systems allow there to be a more intimate, responsive and mutually-beneficial relationship between nature and humans.

B1 : MAPLE LEAF SQUARE CANOPY UNITED VISUAL ARTISTS

Maple Leaf Canopy in Torrento uses the principles of Biomimicry in its design, such that the natural environment is integrated with the built environment using technological advances. The project was inspired by the experience of walking through the natural forest. The canopy uses 8000 identical polygonal modules that form a 90 meter structure. During the day, natural light reflects and refracts through the modules to the pavement below. At night the canopy uses artificial lighting, that move around the canopy systematically reflecting people moving through the side walks, vehicles in traffic and changing lights.1

FIG. 1 : CLOSE UP OF IDENTICAL POLYGON MODULES FORMING TOGETHER PERFECTLY .

As mentioned in part A ,I believe that we should be finding an alternative to design techniques through the advancement of technology. While biomimcry is imitates biological processes in the built environment, we should be finding a means to use this imitation in a manner similar to the Algae Canopy discussed in Part one. We should be searching for means of creating sustainable design through the natural environment. FIG. 2: NIGHT VIEW OF CANOPY

. 1 http://www.archdaily.com/81576/mapleleaf-square-canopy-united-visual-artists

FIG. 3: CONNECTION BETWEEN SUSPENDED CANOPY TO THE ADJOINING STRUCTURE

FIG. 18: FINISHED PROJECT

FIG 4: DAYTIME VIEW OF NATURAL LIGHTING COMING THROUGH CANOPY

FIG. 5 : ARTIFICIAL LIGHTING IN THE NIGHT TIME 37

B2: CASE STUDY 1.0 Original piece 1

Aranda lasch the morning line

Species 1

Change in number of segments, lead to change in number of faces or sides. Changing the number slider to 4 leads to a square pyramid.

Change in number of segments, lead to change in number of faces or sides. Changing the number slider to 5 leads to a pentagonal pyramid.

Cube variables x & y rather than square Change in number slider value effects clusters. From 0.3 to 0.16.

Change in number slider value effects clusters. From 0.3 to 0.5.

Change in number slider value effects clusters. From 0.5 to 0.7

Deletion of pattern on faces

Mirror last element in algorithm

Change in cluster number to 0.4 Changing pattern on faces by changing jitter number slider to 0.7

Original piece 2

Spanish pavilion

Species 2

Horizontal number slider changed from 5 to 10, results in a longer horizontal design.

Change expression formula from n(1.5*s) to N(2*s) Change offset slider from 0.3 to 0.94

Change expression formula n(2* sqrt(s^2- (s/2)Â˛)) to n(3* sqrt(s^2(s/2)Â˛))

Change of image sampler

Original piece 3

matsys grid-shell

Species 3

The slider on the divide element is lowered to 14 from 30.

move the shift slider from 5 to 10. Extend base plane on slider to 10

move second shift slider from -5 to -2

Replace loft element with triangular grid

CONCEPTUALISATION

Original piece 4

voltdom

Species 4

Change in number of point on populate 2d from 10 to 14

Change random seed intersections from 3 to 5 Change lower bounds and upper bound of domain. Lower bound 0.2-0.4 Upper bound 0.8-1

Change radius height of cone from 0.82 to 1.30

Hide preview of first section of definition to reveal underneath of existing cones

B3 : Case study 2.0- icd/itke research pavilion at the university of stuttgart

2011

Keeping with a similar theme to Part A2.2 research pavilion in 2015-2015, this particular pavilion in 2011, was also produced through the use of biological structures into architecture, a design also inspired by sea urchins, whom provided the basic principles for this project. The design focuses on computational design process of the project with three basic principles of heterogeneity referring to the inconsistency of the cell size, but adapting to local curvature.1 Anisotropy relating to its mechanical stress and hierarchy relating to the pavilions two level hierarchical structure, which includes the first level of plywood glues sheets to form a cell and the second level which is the space used as a place of assembly.

FIG. 1 : CLOSE UP OF IDENTICAL POLYGON MODULES FORMING TOGETHER PERFECTLY .

Whilst there is a strong representation of computational design and biomimicry, the pavilion seems to be a unfinished prototype of that which was constructed in 2015/16. Its level of finish seems to be lacking and was improved in its 2015/16 version. Although an impressive space, I also feel as this space did not utilise natural light to its full capacity. Whilst there is a single opening in the roof of the structure, the structure is not well lit throughout with natural lighting. In the years which have passed since its construction computational design has only improved, hence the reason why the pavilion fails to address these issues.

1 https://www.dezeen.com/2011/10/31/icditkeresearch-pavilion-at-the-university-of-stuttgart/

FIG. 2: NIGHT VIEW OF CANOPY

FIG. 3: CONNECTION BETWEEN SUSPENDED CANOPY TO THE ADJOINING STRUCTURE

FIG. 18: FINISHED PROJECT

FIG 4: DAYTIME VIEW OF NATURAL LIGHTING COMING THROUGH CANOPY

B3 : Reverse engineering

During the reverse engineering of ICD/

ITKE research pavilion I has difficulty with the grasshopper definitions at first but was able to eventually recreate the pavilion in a simplistic form. At first I tried to recreate the pavilion by using the veroni component but was unable to do so on my lofted surface. In its place I used the facetted dome component after populating the lofted surface. My next challenge was then to create a 3D version of this, but with its extruded surfaces being smaller. At first I tried simple commands like extrude and weaverbird plug-in â&#x20AC;&#x2DC;stellateâ&#x20AC;&#x2122;, none of which worked out but created interesting forms. Finally I was able to use scale to make the individual surfaces of the facetted surface smaller and then offset these new surfaces created by the scaling component. I tried various ways of combining the top skin and bottom skin together, including using lines and lofting surfaces. I was able to reach the desired outcome by using list item and lofting each surface separately. Ideally I would have liked there to be an easier and quicker method of reaching the end result however I am satisfied with the outcome I have reached.

B4: Technique : development

B5: TECHNIQUE: CONCEPT & PRECEDENTS BIOMIMICRY THROUGH RECURSIVE AGGREGATION

Our focus in this project is the use of Biomimicry through Recursive Aggregation. Biomimicry is a fairly contemporary approach to design, where the objective is to emulate naturally-occurring patterns into abstracted forms. Recursive Aggregation is the repetition of a module to create a form and illustrate the growing element of nature. We used four main precedents for our project. The Elkhorn coral shown in Figure 1 is representing element which we are trying to emulate in out project. The natural growth and organic shapes is what we will be trying display in the installation. Figure 2 displays the 'The Bloom game' which is an interactive architectural project from 2014. This was perhaps the first project that we looked at in relation to recursive aggregation. The structure uses one repeated base shape with the ability to connect to others and create an overall form. The structure is designed to be altered by the user of the space, in order to create forms that are able to stand. We were able to take inspiration from this project, from it base shape and its ability to create a beautiful overall form. However it could be seen as the reverse of our project as it is a mechanical looking structure in nature, but we are trying to emulate nature in an enclosed space. Furthermore the function also differs in that this is an interactive ground installation rather than a roof installation.

FIGURE 3: HYG

FIGURE 1: ELKHORN CORAL - ACROPORA PALMATA

The 'Hygroscope' at the centre Pompidou shows how our chosen material of plywood can be used in an installation and how to possibly incorporate lighting. It also illustrates how a combination of materials can be used together to create different effects. Edging more towards sectioning as a field, but incorporated within biomimicry. In our installation we plan to use more than one material, in order to achieve biomimicry and emulate the natural environment. Perhaps reflective or semi transparent material, which will be explored further after we produce a more finalised design and base shape. Fabware Study. Recursive aggregation - using a repeating module and controlling the overall form through the connections. Represents the growing nature of Biomimicry. Thr project's base module is similar to what we want to produce, however in combination with another material and more complex modules. 48

FIGURE 2: 'BLOOM GAME' : LISA ANDRASEK & JOSE SANCHEZ: BARTLETT SCHOOL OF ARCHITECTURE

FIGURE 4: FAB DOSSIER, THI

GROSCOPE BY ACHIM MENGES AND STEFFEN REICHERT

BWARE STUDY BY TYSON HOSMER, MICHAEL IAGO MUNDIM AND RYAN SZANYI

B5: TECHNIQUE: PROTOTYPES

Base shapes used to be repeated

We used basic shapes modeled on Rhino as our base module and repeated them to achieve our prototypes. These prototypes were inspired by 'Fabware study' and 'The bloom game' in terms of their use of a base module. We are using theseto understand roughly our direction, and the exploration of friction hold joints. This is displayed in the exploded axometric below.

B6: TECHNIQUES: PROPOSAL DESIGN PROPOSAL

CONCEPT

1. Emulate Naturally Occurring Patters

We are exploring L-systems as way to respond to the existing space. The 2 sections of branching to allows the functioning of sliding door. Each are unique but similar and respond to each other.

2. Installation will contribute to the atmosphere of the room rather than being a point of interest. Contributing to the feel of the room. 3. Support the circulation within the room; respond to door, leading onto the main space and orienting towards the stage. 4. Create a feeling of nature, rather than something man made.

The system is used as a way to provide a sense of â&#x20AC;&#x153;beginningâ&#x20AC;? at the entrance (where the loop starts) and gesture towards main space with some suggestion of orientation to stage. We want to create a journey through the space from beginning to end. Currently we are also looking at combining different materials together.

B7: LEARNING OBJECTIVE & OUTCOMES OBJECTIVE 1 We were able to use our brief of a ballroom roof installation and explore some initial concepts relating to it. This gives us an initial idea of the concept which we will pursue in part C.

OBJECTIVE 2 Through one algorithm we are able to create many variations by using different sliders and replacing elements. I have improved my knowledge of grasshopper through Part B exercises.

OBJECTIVE 3 I learnt the most about 3D skills in Part B3 which was the reverse engineering task. During this task I was able to understand how to build 3D elements through grasshopper. Although it took me a long time to do so, I finally managed to produce it through elements of lofting, scaling and offset.

OBJECTIVE 4 We were able to create a several models through laser cutting to understand the feel of a materials and how it will stand and the joins between elements.

B8: APPENDOX - ALGORITHMIC SKETCHES

REFERENCES Aétrangère & ShiftBoston, 2012. “Treepod Initiative”, Arthitectural. Accessed 24/4/2017 <https://www.arthitectural.com/aetrangere-treepods/>.

Andrasek & Sanchez, 2014. “ Bloom “, Indiecade. Accessed 24/4/2017http:// www.indiecade.com/2014/e3_showcase/bloom-the-game

Hosmer, T., Dossier, M., Mundim, T., &Szanyi, R., 2008. “Fabware Study”, Biothing. Accessed 24/4/2017 <http://www.biothing.org/?p=243>.

Menges, A. & Reichert, S., 2012. “HygroScope - Centre Pompidou Paris”, Biometric Architecture. Accessed 24/4/17 <http://www.biomimetic-architecture.com/2012/hygroscope-centre-pompidou-paris/