Architecture Studio: AIR | S1 2017 | Jackson Zeng | 762075 by Jackson Zeng

STUDIO AIR QING CHWEN JACKSON ZENG 762075 SEMESTER 1, 2017 TUTOR: MEHRNOUSH KHORASGHANI

TABLE OF CONTENTS PART A: CONCEPTUALISING A0 INTRODUCTION 02 A1

DESIGN FUTURING

DESIGN COMPUTATION

COMPOSITION GENERATION

A4 CONCLUSION 16 A5

LEARNING OUTCOMES

APPENDIX - ALGORITHMIC SKETCHES

PART B: CRITERIA DESIGN B1 RESEARCH FIELD 22 B2

CASE STUDY 1.0

CASE STUDY 2.0

TECHNIQUE DEVELOPMENT

B5 TECHNIQUE: PROTOTYPE 68 B6 TEHNIQUE: PROPOSAL 76 B7

LEARNING OUTCOMES

APPENDIX - ALGORITHMIC SKETCHES

82 84

PART C: DETAILED DESIGN C1

DESIGN CONCEPT

TECTONIC ELEMENTS & PROTOTYPES

124

FINAL DETAIL MODEL

132

LEARNING OBJECTIVES & OUTCOMES

151

A0 INTRODUCTION

JACKSON ZENG I AM CURRENTLY A SECOND YEAR STUDENT IN THE BACHELOR OF ENVIRONMENTS COURSE AT THE UNIVERSITY OF MELBOURNE. LOOKING TO PURSUE A DOUBLE MAJOR IN ARCHITECTURE AND PROPERTY. FROM A YOUNG AGE I HAVE ALWAYS ENJOYED THE EXPRESSION OF ART IN MANY FORMS. ARCHITECTURE WAS A NATURAL PATH FOR ME WHERE I COULD EXPLORE CREATIVITY WHILE ENJOYING THE SYSTEMATIC FLOW OF TECHNICAL THINKING.

ARCHITECTURE STUDIO: EARTH

SKETCHING MY WAY THROUGH HIGHSCHOOL, MY REPUTATION LEAD TO STUMBLE INTO MY FIRST JOB AS A FREE LANCE GRAPHIC AND FASHION DESIGNER FOR A RETAIL STORE DURING MY FIRST YEAR OF UNIVERSITY. CONSTANTLY ENTICED BY CHANGE AND NEW EXPERIENCES, I TOOK A SEMESTER BREAK TO WORK IN REAL ESTATE SALES, WHERE MY CREATIVE INTUITION LANDED ME IN A BUSINESS MANAGEMENT POSITION AFTER A FEW MONTHS. IN THIS ROLE I EXPLORED ENTREPRENEURIAL ENDEAVOURS IN DIFFERENT WAYS TO MARKET PROPERTY. I HOPE TO BRING CREATIVE TRAITS TO EVERY INDUSTRY I EXPLORE. IN 2016, I DESIGNED THE RETAIL FACADE OF THE BELLE PROPERTY INTERNATIONAL OFFICE RECEPTION SPACE. RETURNING TO UNIVERSITY IN 2017, I HOPE TO COMPLETE MY DEGREE AS A DOUBLE MAJOR IN ARCHITECTURE AND PROPERTY TO BRING AN UNDERSTANDING OF THE IMPORTANCE OF DESIGN TO THE ECONOMIC WORLD. I HAVE ZERO PRIOR EXPERIENCE WITH RHINOCEROS, BUT MY MODERATE EXPERIENCE WITH GOOGLE SKETCHUP IS HELPING ME WITH THE TRANSITION.

PROFESSIONAL GRAPHICS WORK

Project: Air-Stalagmite Location: High Air Pollution Areas Architects: Changsoo Park, Sizhe Chen Project Year: Unbuilt Source: Evolo Skyscraper Competition 2016

[ 1 ] AIR STALAGMITE 4

A1 DESIGN FUTURING Changsoo Park and Sizhe Chen’s Evolo 2016 Skyscraper Competition entry challenges the resistance of major economic and political powers’ recognition of the air pollution problem driven by the globalization of industry in the late 20th century [1] . Awarded an honourable mention, the Air-Stalagmite is beacon structure built over time by a 3D printer on its tower frame as an active log of air pollution levels. The tower base vacuums up the particles and uses it as a composite building material to form the 3D printed air stalagmite, creating an undisputable record of atmospheric particulate levels. In congruency with Tony Fry’s opinion, the beacon breaks away from the trend of design used to conceal materiality [2] from the masses through a literal representation of both materiality and ecological impact. The air-stalagmite also seeks to minimise the damage from public illiteracy of sustainability by the emergence of “design democracy” [3] as the ever-present beacon forces viewers to adopt the first step of the designer’s problem solving process: to identify the existence of a problem. The tower’s use of collected waste as a construction material is a radicalisation of Fry’s concept of the relation between creation and destruction [4] . The utilisation of destructive matter simultaneously

The tower’s form is a physical representation of the past and the present, thus revealing a trajectory towards the probable outcome of air-pollution reduction which political powers commonly speak of but rarely meet. In parallel with Anthony Dunne and Fiona Raby’s ideas, the inherent never-complete nature of Park and Chen’s design makes viewers intuitively visualize the possible and plausible future outcomes [5] of both the structure and the environmental state of the future as a basic form. It subsequently serves to develop a greater sense for the need of dramatic change as the form diverges from the optimistic expectation set by illusory ideas of progress. The beacon is proposed to be erected in heavily polluted areas across the world. The skyscraper’s form becomes unique to the site, varying in thickness dependant on the volume of particles absorbed. It serves as a constant reminder to work towards a preferable future [6] as it rises through the years becomes a profoundly primitive representation of a nation’s ability to enact their responsibility to the environment. Indexed against other Air-Stalagmites, they can be used recognise and direct pressure towards highlighted critical areas.

removes its negative impact and creates a positive one; a conceptual challenge to limits of sustainable practice. Additionally, the incorporation of a 3D printer as a component of architecture, extends beyond the still emerging concept of 3D printing as a construction method. This concept could inspire future ideas of architecture with the growing potential of expansion over time in parallel with the changing needs of its users.

[ 2 ] AIR STALAGMITE DETAILS

[ 3 ] AIR STALAGMITE DIAGRAM [1] “AIR-STALAGMITE: A SKYSCRAPER TO SERVE AS A BEACON AND AIR FILTER FOR POLLUTED CITIES-EVOLO”, EVOLO.US, 2016 < HTTP://WWW.EVOLO.US/ COMPETITION/AIR-STALAGMITE-A-SKYSCRAPER-TO-SERVE-AS-A-BEACON-AND-AIR-FILTER-FOR-POLLUTED-CITIES/> [ACCESSED 13 MARCH 2017]. [2], [3], [4] FRY, TONY (2008). DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD: BERG), PP. 1–16 [5], [6] DUNNE, ANTHONY & RABY, FIONA (2013) SPECULATIVE EVERYTHING: DESIGN FICTION, AND SOCIAL DREAMING (MIT PRESS) PP. 1-9, 33-45 5

A1 DESIGN FUTURING Grimshaw and Samoo Architectâ&#x20AC;&#x2122;s Ecorium in the National Ecological Institute is a series of greenhouses containing various natural biome replications in South Korea built to become an education and research hub for conservation. I chose this as a case study as it is a natural evolution of the preceding Eden Project [7] from Grimshaw. The existence of this project is proof of design futuring success from its precedent. Utilising design computation, simulations of various iterations of the form were tested for air-flow and water management to optimise energy efficiency. I found this project to be an interesting comparison between the finititude of natural ecologies and that of humanity. [8]

The ecorium serves to allow visitors to experience the diversity of nature and stress the fragility and importance of conservation. While conditions are artificially controlled, biomimicry is at the heart of its design, replicating conditions of the natural word in separate biomes while arranged to incorporate the regional connections between climates. The project challenges the industrialised perception of nature as a separate entity protected and preserved from human activity in the form of an ecological system entirely dependent on the artificial enclosure. The project acts as an exploration into the plausible [9] interdependence between nature and man, to facilitate the planning a probable and preferable outcome for human sustainment.

Project: Ecorium of the National Ecological Institute Location: Seocheon-gun, Korea Architects: Samoo Architects & Engineers, Grimshaw Architects Project Year: 2013 Source: Archdaily

[ 4 ] ECORIUM OF THE NATIONAL ECOLOGICAL INSTITUTE

[ 5 ] ECORIUM LEVEL ONE

[ 6 ] ECORIUM GROUND FLOOR

[7] “ECORIUM OF THE NATIONAL ECOLOGICAL INSTITUTE / SAMOO ARCHITECTS & ENGINEERS + GRIMSHAW ARCHITECTS”, ARCHDAILY, 2013 < HTTP://WWW.ARCHDAILY.COM/423255/ ECORIUM-OF-THE-NATIONAL-ECOLOGICAL-INSTITUTE-NBBJ-IN-COLLABORATION-WITH-SAMOO-ARCHITECTS-AND-ENGINEERS-GRIMSHAW-ARCHITECTS> [ACCESSED 13 MARCH 2017]. [8] FRY, TONY (2008). DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD: BERG), PP. 1–16 [9] DUNNE, ANTHONY & RABY, FIONA (2013) SPECULATIVE EVERYTHING: DESIGN FICTION, AND SOCIAL DREAMING (MIT PRESS) PP. 1-9, 33-45

[ 7 ] FACADE UNIT FOLDING DIAGRAM

The façade of the Al Bahr Towers is a direct performative response to the intense heat conditions of Abu Dhabi. Aedas has created a dynamic façade based on a Masharabiya folding lattice [10] using parametric design to form a mechanical shading system composed of repeating hexgonal units each subcomposed of triangular sections that folds in and out (Refer to FIg. 7) to block sunlight in accordance with the sun path. Dynamically reducing glare and solar heat gain where it is needed at different times of the day, parametric design has revolutionized performative architecture to allow for structures that do not have to compromise for an average condition like passive thermal design.

The use of parameters allows for the efficient analysis [11] of pattern composition, surface permeability and unit size of the dynamic façade. Functional parametric design such as this shows clear characteristics of scientific rationality above artistic intuition, shifting the architect’s role and making the collaboration between architects and engineers more intertwined.

[10] “THE AL BAHR TOWERS’ SUSTAINABLE GEOMETRIC FAÇADES REACT TO SOLAR RAYS”, ARCHITIZER, 2014 <HTTP://ARCHITIZER.COM/BLOG/AL-BAHR-TOWERS/> [ACCESSED 13 MARCH 2017]. [11] KALAY, YEHUDA E. (2004). ARCHITECTURE’S NEW MEDIA: PRINCIPLES, THEORIES, AND METHODS OF COMPUTER-AIDED DESIGN (CAMBRIDGE, MA: MIT PRESS), PP. 5-25

[ 8 ] AL BAHR TOWER FACADE 8

A2 DESIGN COMPUTATION PROJECT: AL BAHR TOWERS LOCATION:ABU DHABI, UNITED ARAB EMIRATES ARCHITECTS: AEDAS PROJECT YEAR: 2012 SOURCE: ARCHITIZER

[ 9 ] AL BAHR TOWERS

[ 10 ] HARBIN OPERA HOUSE SKYLIGHT

PROJECT: HARBIN OPERA HOUSE LOCATION: HARBIN, HEILONGJIANG, CHINA ARCHITECTS: MAD ARCHITECTS PROJECT YEAR: 2015 SOURCE: ARCHDAILY

A2 DESIGN COMPUTATION The graceful fluidity of MAD Architect’s Harbin Opera House is an example of a structure made possible by the emerging technological innovations in design and construction. The sloping white form is a contextual response to the frigid climate [12] . Numerically Controlled fabrication enables the curvilinear geometries of the Harbin Opera House which can be modeled by Non-Uniform Rational B-Splines (NURBS) to be fabricated at a level of precision not possible by traditional methods. [13] These curvatures can then be adjusted parametrically to find the acoustically-optimal form through analysis by acoustic engineers such that geometry can now be justified on a rational level [14] beyond the intuition of an artist.

Design computation’s capacity for an endlessly wide range of design outcomes revolutionizes the performance capabilities of architecture. The computer begins to play a major role as the creator and the designer takes on board a role more akin to an analyst while traditionally, the architect acts as the sole creator, and the computer a tool. The ability to easily and rapidly adjust on an almost infinitely divisible level to a variety of factors means practice can evolve to a more frictionless collaboration between architects and engineers, and specialised consultants, as the process has been made far more efficient, with time and resources being spent on assessing a range of outcomes for performance rather than drawing the pre-envisaged form. The outcome becomes a far more efficient and rational product.

[ 11 ] HARBIN OPERA HOUSE

[12] “HARBIN OPERA HOUSE / MAD ARCHITECTS”, ARCHDAILY, 2015 < HTTP://WWW.ARCHDAILY.COM/778933/HARBIN-OPERA-HOUSE-MAD-ARCHITECTS> [ACCESSED 13 MARCH 2017]. [13] OXMAN, RIVKA AND ROBERT OXMAN, EDS (2014). THEORIES OF THE DIGITAL IN ARCHITECTURE (LONDON; NEW YORK: ROUTLEDGE), PP. 1–10

[14] KALAY, YEHUDA E. (2004). ARCHITECTURE’S NEW MEDIA: PRINCIPLES, THEORIES, AND METHODS OF COMPUTER-AIDED DESIGN (CAMBRIDGE, MA: MIT PRESS), PP. 5-25

[ 12 ] OSTEON CUMULUS VERTICAL CITY: KILOMETER-HIGH CITY

PROJECT: OSTEON CUMULUS VERTICAL CITY: KILOMETER-HIGH CITY LOCATION: WUXI CITY, JIANSU PROVINCE, CHINA ARCHITECTS: LAYTON REID, ADRIAN JIMENEZ ESCARFULLERY, SAKIB HASAN, BRYAN RUIZ, MILOT PIVERA PROJECT YEAR: 2016 (UNBUILT) SOURCE: EVOLO

A3 COMPOSITION GENERATION The Osteon Cumulus Vertical City: Kilometer-High City is an entry awarded honorable mention in Evolo’s 2016 Skyscraper Competition. It’s composition of repeating units is characteristic of an algorithmically generated design [15] . Using rules for the optimisation of lightweight stability, its form mimics the biology of the banyan tree. Spaced out lightweight vertical elements minimise the footprint while providing stability [16] . Additionally, its lightweight diagrid form mimics that of the porous structure of bone to provide structural strength yet remain lightweight. For a potential project of such complexity, the use of computational design is a necessity to generate forms of optimal structural strength and minimal weight.

The design entry explores the potential of arranging the units and structure to form an energy generator, based on the geometry of a radiator. The range of generated structures would need to be tested against simulations [17] for numerous structural factors as well as energy efficiency, sunlight and air flow simulations. Located in Wuxi, Jiansu, China, the project links back to previous topics of design futuring. The Kilometer-High City seeks to answer the impending issues of displacement through the exploration [18] of the possibility of livable energygenerating structures. It is becoming increasingly clear that if design is to facilitate the sustainment of humanity, then computational design is a core necessity for its performatively proficient functionality.

[15] DEFINITION OF ‘ALGORITHM’ IN WILSON, ROBERT A. AND FRANK C. KEIL, EDS (1999). THE MIT ENCYCLOPEDIA OF THE COGNITIVE SCIENCES (LONDON: MIT PRESS), PP. 11, 12 [16] “OSTEON CUMULUS VERTICAL CITY: KILOMETER-HIGH CITY”, EVOLO.US, 2016 < HTTP://WWW.EVOLO.US/COMPETITION/ OSTEON-CUMULUS-VERTICAL-CITY-KILOMETER-HIGH-CITY/> [ACCESSED 13 MARCH 2017]. [17] PETERS, BRADY. (2013) ‘COMPUTATION WORKS: THE BUILDING OF ALGORITHMIC THOUGHT’, ARCHITECTURAL DESIGN, 83, 2, PP. 08-15

[ 13 ] OSTEON DETAIL

[ 14 ] GREAT COURT AT THE BRITISH MUSEUM

PROJECT: GREAT COURT AT THE BRITISH MUSEUM LOCATION: LONDON, UK ARCHITECTS: FOSTER AND PARTNERS PROJECT YEAR: 2000 SOURCE: THE ARCHITECTâ&#x20AC;&#x2122;S JOURNAL

[ 15 ] GREAT COURT GLASS CANOPY

A3 COMPOSITION GENERATION Foster and Partners’ alteration of the British Museum in 2000 to incorporate a glass canopy transformed the courtyard into a useable space in any weather condition. Joining a circular roof and a rectilinear one with a curved surface at the time was no small feat. While it predates grasshopper, the glass canopy of the Great Court at the British Museum, helped popularise the curvilinear glass canopy seen in projects such as the Harbin Opera House, MAD Architects (2015), and the Glass Canopy at Chadstone Shoppping Centre, Victoria, Australia, Bates Smart and Buchan Group (2016). Foster and Partner’s glass canopy is an example of composition that predates generation. While the end form remains familiar, the emergence of generative design tools shifted the process from a singular composition to the generation of many surfaces through adjusting parameters.

As design process shifts, so too does construction. Due to the precision required in the complex geometries, design computation has lead designers such to take part in the fabrication of materials [19] Foster and Partners Specialist Modelling Group. The flexibility of design computation is not restricted to entirely new buildings only. The digitalisation of design had allowed for the architect to precisely measure the existing geometries to produce a new space without the destruction of the existing building.

[18] DUNNE, ANTHONY & RABY, FIONA (2013) SPECULATIVE EVERYTHING: DESIGN FICTION, AND SOCIAL DREAMING (MIT PRESS) PP. 1-9, 33-45 [19] PETERS, BRADY. (2013) ‘COMPUTATION WORKS: THE BUILDING OF ALGORITHMIC THOUGHT’, ARCHITECTURAL DESIGN, 83, 2, PP. 08-15 15

A4 CONCLUSION The massive output capacity of design computation has revolutionized the design process. The exploration of parametric form can now be measured for performance on a precise level with simulations. The vast potential of generative design has shifted the design away from intuition and toward rationality. The efficiency of parametric and generative design has shattered traditional limitations and elevated the designerâ&#x20AC;&#x2122;s abilities in problem solving. As the environment becomes increasingly disturbed, the need for sustainable problem solving grows. The availability of design computation has opened pathways to sustainability breakthroughs, and thus I will place performance-focused thinking at the core of my design process to explore avenues of prolonging and improving human sustainment.

A5 LEARNING OUTCOME The last few weeks I have grasped the core understanding of Grasshopper processes from a foundation of no previous Rhino knowledge. I now understand the potential of design generation and selection of iterations, adopting the new relationship between the designer and the computer. My process of design thinking has now shifted from how can I create my envisioned form to how I manipulate and select parameters to fit the generated form as a design solution. While my previous designs were a linear progression toward the final product, my newfound skills in computational thinking could have vastly changed my previous architecture studio: earth outcome, as i had produced a modular structure that i had shaped manually and on intuition. the use of grasshopper could have rapidly accelerated the process of adding and adjusting units individually and allowed for a much more complex form.

2D Patterning: i experimented with the hexagonal grid and made alterations in size based on the proximity to a nurbs curve determined by randomized control points. using multipliers and min/max components i could control the hexagonal patternâ&#x20AC;&#x2122;s sensitivity to the curve.

A6 ALGORITHMIC SKETCHBOOK WEEK 2: 2D & 3D PATTERNING

3D Patterning: i extruded the 2d surfaces into 3d forms and then moved them using the same rule that dictates the surface size, adding a multiplier to control z-axis movement sensitivity.

BIBLIOGRAPHY “Air-Stalagmite: A Skyscraper To Serve As A Beacon And Air Filter For Polluted Cities-Evolo”, Evolo.us, 2016 < http://www.evolo. us/competition/air-stalagmite-a-skyscraper-to-serve-as-a-beacon-and-air-filter-for-polluted-cities/> [accessed 13 March 2017]. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 “Ecorium of the National Ecological Institute / Samoo Architects & Engineers + Grimshaw Architects”, ArchDaily, 2013 < http://www.archdaily.com/423255/ecorium-of-the-national-ecological-institute-nbbj-incollaboration-with-samoo-architects-and-engineers-grimshaw-architects> [accessed 13 March 2017]. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 “Harbin Opera House / MAD Architects”, ArchDaily, 2015 < http://www.archdaily. com/778933/harbin-opera-house-mad-architects> [accessed 13 March 2017]. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 “Osteon Cumulus Vertical City: Kilometer-High City”, Evolo.us, 2016 < http://www.evolo.us/ competition/osteon-cumulus-vertical-city-kilometer-high-city/> [accessed 13 March 2017]. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 “The Al Bahr Towers’ Sustainable Geometric Façades React To Solar Rays”, ARCHITIZER, 2014 <http://architizer.com/blog/al-bahr-towers/> [accessed 13 March 2017].

IMAGE SOURCES [ 1 ] “Air-Stalagmite: A Skyscraper To Serve As A Beacon And Air Filter For Polluted Cities”, EVOLO, 2016 <http://www.evolo.us/ competition/air-stalagmite-a-skyscraper-to-serve-as-a-beacon-and-air-filter-for-polluted-cities/> [accessed 12 march 2017] [ 2 ] “Air-Stalagmite: A Skyscraper To Serve As A Beacon And Air Filter For Polluted Cities”, EVOLO, 2016 <http://www.evolo.us/ competition/air-stalagmite-a-skyscraper-to-serve-as-a-beacon-and-air-filter-for-polluted-cities/> [accessed 12 march 2017] [ 3 ] “Air-Stalagmite: A Skyscraper To Serve As A Beacon And Air Filter For Polluted Cities”, EVOLO, 2016 <http://www.evolo.us/ competition/air-stalagmite-a-skyscraper-to-serve-as-a-beacon-and-air-filter-for-polluted-cities/> [accessed 12 march 2017] [ 4 ] “Ecorium of the National Ecological Institute / Samoo Architects & Engineers + Grimshaw Architects”, ArchDaily, 2013 < http://www.archdaily.com/423255/ecorium-of-the-national-ecological-institute-nbbj-in-collaboration-with-samoo-architects-andengineers-grimshaw-architects> [accessed 13 March 2017]. [ 5 ] “Ecorium of the National Ecological Institute / Samoo Architects & Engineers + Grimshaw Architects”, ArchDaily, 2013 < http://www.archdaily.com/423255/ecorium-of-the-national-ecological-institute-nbbj-in-collaboration-with-samoo-architects-andengineers-grimshaw-architects> [accessed 13 March 2017]. [ 6 ] “Ecorium of the National Ecological Institute / Samoo Architects & Engineers + Grimshaw Architects”, ArchDaily, 2013 < http://www.archdaily.com/423255/ecorium-of-the-national-ecological-institute-nbbj-in-collaboration-with-samoo-architects-andengineers-grimshaw-architects> [accessed 13 March 2017]. [ 7 ] “Al bahar towers responsive facade aedas”,archdaily, 2014 <http://www.archdaily.com/270592/al-bahar-towers-responsivefacade-aedas> [accessed 13 March 2017]. [ 8 ] “The Al Bahr Towers’ Sustainable Geometric Façades React To Solar Rays”, ARCHITIZER, 2014 <http://architizer.com/blog/albahr-towers/> [accessed 13 March 2017]. [ 9 ] “The Al Bahr Towers’ Sustainable Geometric Façades React To Solar Rays”, ARCHITIZER, 2014 <http://architizer.com/blog/albahr-towers/> [accessed 13 March 2017]. [ 10 ] “Harbin Opera House / MAD Architects”, ArchDaily, 2015 < http://www.archdaily.com/778933/harbin-opera-house-madarchitects> [accessed 13 March 2017]. [ 11 ] “Harbin Opera House / MAD Architects”, ArchDaily, 2015 < http://www.archdaily.com/778933/harbin-opera-house-madarchitects> [accessed 13 March 2017]. [ 12 ] “Osteon Cumulus Vertical City: Kilometer-High City”, Evolo.us, 2016 < http://www.evolo.us/competition/osteon-cumulusvertical-city-kilometer-high-city/> [accessed 13 March 2017]. [ 13 ] “Osteon Cumulus Vertical City: Kilometer-High City”, Evolo.us, 2016 < http://www.evolo.us/competition/osteon-cumulusvertical-city-kilometer-high-city/> [accessed 13 March 2017]. [ 14 ] “Great Detail: Elisa Pardini on Foster’s Great Court at the British Museum”, The architects journal, 2016 <https://www. architectsjournal.co.uk/buildings/great-detail-elisa-pardini-on-fosters-great-court-at-the-british-museum/10015894.article> [accessed 13 March 2017]. [ 15 ] “great court at the british museum”, FOSTER + PARTNERS, 2017 <http://www.fosterandpartners.com/projects/great-court-atthe-british-museum/> [accessed 13 March 2017]. [ Cover Page ] "Arch20 Parametrid plugin", mooremaking, 2017 <https://mooremaking.wordpress.com/2017/02/07/aboutparametric-design/#jp-carousel-6983/> [accessed 13 March 2017].

PART B

B1 Research Field: Geometry

The geometry exploration is a formfinding process that explores the physical structure possibilities of a design. The rapidly changeable characteristics of parametric design has drawn me towards the research field of geometry as it forms the foundation on which other research fields can be applied, allowing me to experiment with a wider field of design parametricism. I intend to explore the capacities of parametric design through the application of a range curve, surface and polygon transformations to base geometric forms.

B2 Case Study 1.0 Project: SG2012 Year: 2012 Designer: Matsys Location: Troy, NY

[ 1 ] MATSYS GRIDSHELL DIGITAL RENDER

[ 2 ] MATSYS GRIDSHELL PHOTOGRAPH

B1 Research Field: Geometry Matsys Gridshell Input Curves Curves from Rhino form the initial input that will define the geometry bounds Divide The length of the curve is divided to generate a number of points along the curve. Resulting outcome is three lists of points. Arc An arc is generated between corresponding points from the three lists. List one, two, three form the start, middle, and end points of the arcs respectively. Loft A loft is formed between the arcs. Output is a surface Geodesic Geodesic curves run along a surface, forming a curve that takes the shortest path from a start and end point. The lofted surface is used as the surface input. The start and end points are generated by dividing the interior and exterior initial input curves and extracted to separate the first and third lists from the second list. Shift A point list is shifted by (n) to create geodesic curves that start from (0;1;a) to (0;3;a+n). This is repeated inversely with the second set of geodesic curves to create the hatching effect.

Iteration: #00 divisions: 35 shift: 5 25

Species 1: Geodesic Curves

Iteration: #01 divisions: 18 shift: 5

Iteration: #02 divisions: 18 shift: 10

Iteration: #03 divisions: 18 shift: 2 26

Iteration: #04 divisions: 18 shift: 10

Iteration: #05 divisions: 35 shift: 2

Transformation: Adjusting existing parameters Species 01 tests iterations throught the exploration of initial parameters. Adjusting of parameters reveals that the divisions and shifts in point list can create more loosely or tightly knit variations of the intiai geometry

Iteration: #06 divisions: 35 shift: 0

Iteration: #07 divisions: 35 shift: 10

Iteration: #08 divisions: 35 shift: 5, 10 28

Transformation: Subtracting components A subset of species 1. Here, I subtracted some components to see more basic geometry. The subtraction of the shift component removes the spiral form, shown in iteration #06. Subtraction of the second geodesic curve list results in a remaining spiral geometry shown in interation #07. Iteration #08 tests the resulting form when both geodesic lists follow the same direction but to a different degree.

Species 2: Piping

Iteration: #09 pipe radius: 0.1 cap: flat

Iteration: #10 pipe radius: 0.1 cap: round

Iteration: #11 pipe radius: 0.3 cap: round 30

Iteration: #12 pipe radius: 0.75 cap: round

Iteration: #13 pipe radius: 0.1 lofted

Iteration: #14 pipe radius: 0.3 lofted 31

Iteration: #15 dual pipe radius: 0.15

Iteration: #16 dual pipe radius: 0.05

Iteration: #17 dual pipe radius: 0.5 32

Iteration: #18 dual pipe radius: 0.15 lofted

Transformation: Geometry Piping This species tests the outcomes when the geodesic curves are piped. At smaller radii, the transformation creates a rounded three dimensional grid structure, while larger radii turns the form into a more sculptural aesthetic. The resulting grids from smaller radii iterations can incorporate a lofted surface between it for weatherproofing purposes.

Species 3: Variable Pipe

Iteration: #19 segments: 0 | 0.35 | 1 radii: 0 | 0.2 | 0.05

Iteration: #20 segments: 0 | 0.35 | 1 radii: 0.3 | 0.2 | 0.05

Iteration: #21 segments: 0 | 0.25 | 0.5 | 0.75 | 1 radii: 0.1 | 0.3 | 0.1 | 0.3 | 0.1 34

Iteration: #22 segments: 0 | 0.25 | 0.5 | 0.75 | 1 radii: 0.3 | 0.1 | 0.3 | 0.1 | 0.3

Transformation: Geometry Variable Piping This species explores forms similar to the previous species, but with an additional layer of complexity through variation of pipe thickness along the geodesic curve. Resulting outcomes are fairly sculptural in aesthetic.

Species 4: Polygon Sweep

Iteration: #23 polygon vertices: 3 section: triangle

Iteration: #24 polygon vertices: 4 section: rectangle

Iteration: #25 polygon vertices: 5 section: pentagon 36

Transformation: Geometry Polygon Sweep This species explores a polygon sweep across the geodesic curves. Resulting geometries are not any more functional than iterations undergoing piping transformations.

Species 5: Random Quad Panel & Cull

Iteration: #26 panel divisions: 60 | 20 cull: (none)

Iteration: #27 panel divisions: 60 | 20 cull: T F

Iteration: #28 panel divisions: 60 | 20 cull: T F T F T T F T T 38

Iteration: #28 panel divisions: 60 | 80 cull: T F T F T T F T T

Transformation: Pattern Random Quad Panels and Pattern Cull This species explores pattern culling on randomised quad panels. The results indicate that pattern culling on randomised panels are not very effective due to the randomisation of the quad panels displacing the pattern.

Species 6: Triangular Pattern Cull

Iteration: #29 panel divisions: 60 | 80 cull: (none)

Iteration: #30 panel divisions: 60 | 80 cull: T F

Iteration: #31 panel divisions: 60 | 80 cull: T F T T F T 40

Iteration: #32 panel divisions: 60 | 80 cull: T F T F T T T F T F T T T F

Transformation: Tesselation and Pattern Triangle Panels and Pattern Cull These iterations show that the triangular panels can produce patterns dictated by a boolean sequence, creating interesting patterns.

Species 7: Pattern Subdivision

Iteration: #33 triangle subdivision level: 1

Iteration: #34 triangle subdivision level: 2

Iteration: #35 triangle subdivision level: 2 panel cull: T F 42

Iteration: #36 triangle subdivision level: 2 panel cull: T T F

Iteration: #37 triangle subdivision level: 2 panel cull: T F T F T T T F T F T T T F

Transformation: Panel subdivision Subdivision of panels can create highly intricate patterns that can become infinitely intricate (digitally). I found that a subdivision of two levels already becomes quite complex, and further levels become fairly implausible to construct. Pattern culling on subdivided geometry creates more interesting panel patterns, as it creates polygon voids less restricted by the uniform base panel.

Species 8: Hex pods

Iteration: #38 divisions: 60 | 10 cut: 0.3 height: 0.3

Iteration: #39 divisions: 60 | 10 cut: 0.3 height: 0.1

Iteration: #40 divisions: 60 | 10 cut: 0.3 height: 0.6 44

Iteration: #41 divisions: 60 | 10 cut: 0.7 height: 0.1

Iteration: #42 divisions: 60 | 10 cut: 0.7 height: 0.3

Iteration: #43 divisions: 60 | 10 cut: 0.1 height: 0.3 45

Iteration: #44 divisions: 60 | 10 cut: 0.1 height: 0.1

Transformation: Geometry and Tesselation Hexagon cells I became increasingly interested in patterns and tesselation as I found that most performative potential can be gained from surfaces. These hex cells perforated in the centre can be the basis for a performative surface using a larger void to respond to the environmentâ&#x20AC;&#x2122;s radiation, while the variations in surface height can have sound absorbing properties.

Selection Criteria 1: Performance potential The iterations will be assessed against their capacity as a performative structure. This assessment ranks forms not just in a single type of performance, but instead, the formâ&#x20AC;&#x2122;s potential to be used in a performative manner. Geometry with performance potential in numerous fields will rank better than those that are highly efficient in one field. This could be their capabilities respond to the environment in terms of sunshading, sound dampening, or airflow. 2: Functionality This criterion tests the outcomeâ&#x20AC;&#x2122;s potential for use by occupants. It should also be compatible with the site in order to be enhance space in the site rather than merely occupy it. 3: Aesthetics A successful iteration should be a visually striking form that demonstrates the fluidity and complexity of geometry that can be achieved through parametric design. 4: Constructability The synthesis potential of a design must be a major consideration. Successful selections will be assessed not only in terms of ease of construction, as well as the structural performance of the form. The aim is to produce a form that requires minimal supporting structures, or none if possible.

Successful iterations

Iteration #18 Performance Potential: 9.0 Functionality: 8.0 Aesthetics: 7.0 Constructability: 9.0 The piping of the geometry forms an interlocking grid structure that can support the surface panels. Flexible materials can be used to explore the structural capacities of this geometry. Surfaces between the pipe grid, combined with materiality, can have performative properties responding to weather. As a closed surface, the geometry can now be used a canopy.

Iteration #31 Performance Potential: 7.0 Functionality: 7.0 Aesthetics: 8.0 Constructability: 7.0 Fabrication is definitely feasible, as the triangular geometry guarantees planar panels. However the structural integrity may require additional support. A surface provides foundation for a performative pattern, with voids allowing for airflow. This iteration has high potential as a perforated shading system.

Iteration #35 Performance Potential: 7.0 Functionality: 7.0 Aesthetics: 10.0 Constructability: 6.0 Similar performative properties to iteration #31, this iteration has high potential as a perforated shading system. It may be more difficult to fabricate due to the complexity of the pattern. However, its geometry may be slightly more structurally sound than iteration #31, due to a smaller elements supported only by point connections.

Iteration #38 Performance Potential: 10.0 Functionality: 10.0 Aesthetics: 10.0 Constructability: 8.0 This is a highly successful outcome, as the geometry gives it flexibility as a design solution to environmental conditions. Its geometric complexity also demonstrates parametric capacity to construct a fluid curved form out of rectilinear panels. The geometry is very suitable for application as a performative facade with a flexible range of conditions it can respond to. The voids allow for radiation or ventilation control, while the serrated geometry formed by the pod heights acts to absorb sound.

Project: Smithsonian Institution Year: 2004-2007 Architect: Foster + Partnerrs Location: Washington DC, USA

[ 3 ] SMITHSONIAN INSTITUTION EXTERIOR

B3 Case Study 2.0

[ 4 ] SMITHSONIAN INSTITUTION INTERIOR

Much like Foster + Partnerâ&#x20AC;&#x2122;s Great Court at the British Museum (2000), they have designed a canopy over an existing courtyard to transform the open space into a sheltered one so that it can be used in all weather conditions. Parametric design has been used here to incorporate a reference to the historical architecture of the site by curving the roof surface to hint at a dome structure. The structure is composed to glass panels framed and supported by a diamond grid structure.

01: Map the existing space as and Input as reference curves

02: Loft into surface

03: U + V Divisions into diamond panels 52

05: Split panel to extract frame

06: Move down along Z vector

07: Loft to form 3D Frame Structure

08: Extract window panels from surface split

09: Offset and loft surface frame to construct canopy border.

Completed Outcome The finished outcome very successful replicated the Smithsonian Institution project by Foster + Partners and demonstrates that parametric tools can efficiently produce undulating surfaces out of glass by producing a structural frame for the panels

B4 Technique Development

As I made progression along the design process, I wanted to narrow down on my experimentation to focus on producing geometries that can have performative properties. Subsequently, my focus shifted toward surfaces. In this exploration, I experimented by applying transformations to the precedent algorithm, consciously aiming to produce a functional and fabricateable outcome that can respond to the site conditions.

Species 01: Existing Parameters

Iteration: #01

Iteration: #06

divisions: 25 | 50 scale: 0.9

divisions: 25 | 50 scale: 0.5

Iteration: #02

Iteration: #07

divisions: 25 | 25 scale: 0.9

divisions: 25 | 50 scale: 0.1

Iteration: #03 divisions: 50 | 25 scale: 0.9

Iteration: #04 divisions: 10 | 25 scale: 0.9

Iteration: #05 divisions: 50 | 50 scale: 0.9 57

Species 02: Cull; Indices

Species 03: Cull; Pattern

Iteration: #08

Iteration: #11

N cull: 100

cull pattern: T F

Iteration: #09

Iteration: #12

N cull:250

cull pattern: T F F

Iteration: #10

Iteration: #13

N cull: 650

cull pattern: T F T T F

Iteration: #14 cull pattern: T F T T F F F T F

Species 04: Duplicate & Cull

Species 04: Tesselation; diamond grid

Iteration: #15

Iteration: #18

N: 5 L: 1.8 step: 100

divisions: 15 | 30 h: -0.5 d: 0.4

Iteration: #16

Iteration: #19 divisions: 15 | 30 h: -0.5 d: 0.7

N: 5 L: 1.8 step: 150

Iteration: #17

Iteration: #20

N: 5 L: 4.5 step: 100

divisions: 10 | 20 h: -0.5 d: 0.4

Iteration: #21 divisions: 5 | 20 h: -0.5 d: 0.4

Species 04: Tesselation; hex grid

Species 05: Attractor field

Iteration: #22

Iteration: #27

divisions: 25 | 50 s: 0.3 h: 0.5

domain: 0.1 - 0.9 p: 1 d: type 1

Iteration: #23

Iteration: #28

divisions: 25 | 50 s: 0.3 h: 0.9

domain: 0.1 - 0.9 p: 1 d: type 2

Iteration: #24

Iteration: #29

divisions: 25 | 50 s: 0.9 h: 0.9

domain: 0.3 - 0.9 p: 4 d: type 2

Iteration: #25

Iteration: #30

divisions: 10 | 20 s: 0.3 h: 0.5

domain: 0.3 - 0.9 p: 4 d: type 1

Iteration: #26 divisions: 10 | 20 s: 0.6 h: 0.8 60

Species 06: Tesselation; Attractor field

Iteration: #31

Iteration: #36

h: 0.01

h: 2.00

Iteration: #32

Iteration: #37

h: 0.25

h: 5.00

Iteration: #33

Iteration: #38

h: 0.50

h: -0.50

Iteration: #34

Iteration: #39

h: 0.75

h: -1.00

Iteration: #35

Iteration: #40

h: 1.00

h: -2.00

Species 07: Sectioning; circular

Iteration: #41

Iteration: #45

Offset: 0.25

Offset: 0.50 (inverted)

Iteration: #42

Iteration: #46

Offset: 0.50

Offset: 0.75 (inverted)

Iteration: #43

Iteration: #47

Offset: 0.75

Offset: 1.00 (inverted)

Iteration: #44 Offset: 1.00

Species 08: Sectioning; bidirectional

Iteration: #48

Iteration: #53

Offset: 0.50 | 0.50

Offset: 0.50 | 0.50 (inverted)

Iteration: #49

Iteration: #54

Offset: 0.75 | 0.75

Offset: 0.75 | 0.75 (inverted)

Iteration: #50

Iteration: #55

Offset: 1.00 | 1.00

Offset: 1.00 | 1.00 (inverted)

Iteration: #51

Iteration: #56

Offset: 0.25 | 1.00

Offset: 0.25 | 1.00 (inverted)

Iteration: #52

Iteration: #57

Offset: 1.00 | 0.25

Offset: 1.00 | 0.25 (inverted) 63

Species 08: Sectioning; diamond

Iteration: #58 Offset: 0.25

Iteration: #59 Offset: 0.50

Iteration: #60 Offset: 0.75

Iteration: #61 Offset: 1.00

Selection Criteria 1: Parametric Flexibility This criterion measures the iterationâ&#x20AC;&#x2122;s ability to be further altered to have precise responses at varying degrees within the geometry. 2: Environmental Responsiveness A geometry that can have respond to multiple facets of environmental conditions will rank highly, such as a form that has shading, acoustic, as well as ventilation properties. 3: Aesthetics A successful iteration should be a visually striking form that demonstrates the fluidity and complexity of geometry that can be achieved through parametric design. 4: Structure The synthesis potential of a design must be a major consideration. Successful selections will be assessed for structural performance of the form. As a roof structure, this is more signiciant as it needs to hold itself together without the ground beneath it.

Iteration: #16 Parametric Flexibility: 4.0 Environmental Responsiveness: 6.0 Aesthetics: 8.0 Constructibility: 6.0 This outcome can be fabricated with a simple frame, and each panel can have add an additional layer of environmental response to the roof. Perhaps an application could be varying levels of tinting for an indoor space prone to overheating.

Iteration: #55 Parametric Flexibility: 7.0 Environmental Responsiveness: 6.0 Aesthetics: 6.0 Constructibility: 10.0 The grid created from the bidirectional sectioning provides a great structural form, while the height allows it to respond to sunlight.

Iteration: #33 Parametric Flexibility: 10.0 Environmental Responsiveness: 10.0 Aesthetics: 8.0 Constructibility: 7.0 This iteration is derived from the hex pods in Case Study 1.0, but further developed to incorpate more parametric flexibility be allowing the cell voids to be controlled by a point charge, allowing a surface to be designed such that its sides will respond to a a sun path or wind path. Additionally, the undulating heights assist in acoustic dampening.

Iteration: #38 Parametric Flexibility: 10.0 Environmental Responsiveness: 10.0 Aesthetics: 8.0 Constructibility: 7.0 Similar to iteration #33, this geometry is the inverted cells depicted in #33. It has a wide range of performance applications provided by the 3 dimensional form. Additionally, by reversing the vector of the cell height, the geometry now allows more sunlight to permeate through the surface at an angle.

B5 Prototyping

As we entered the prototyping stage of the design process, I formed a group with Jake Bourke and Olivia Zuccala. We established that we wanted our design to be responsive to sun and sound. I had the role of providing the foundation geometry with components that can respond to an environment parametrically, on top of which Bourke and Zuccala will apply their parametric transformations based on environmental inputs.

To begin the prototyping process, I was provided with the 2-dimensional plan boundaries of the base form dictated by Batman Parkâ&#x20AC;&#x2122;s tree locations and size from Bourke. To create a 3-dimensional form, I converted the polyline into a mesh and used the vertices of the boundary as anchor points to vault the surface upwards using a unary force and converting the mesh lines into springs. However, in order to create a 3-dimensional form that can be fabricated out of rigid materials, I needed to solve the planarity issue. As there were initially panels with 4 vertices, this needed to be solved by extracting the vertices from the deconstructed mesh and applying a planarization force.

The resulting outcome produced an outcome with planarized panels to a 0.4% degree accuracy for modelling purposes while an additional projection algorithm allowed me to create fully planar surfaces for laser cutting. Voids are then cut out of the centre of the planar panels to allow my group members to apply their sun-responsive transformations, while the thickness of the panels can be altered for sound dampening.

Pre-prototyping Geometry Diagram

map brep to site

mesh

reference points for anchor

extract lines from mesh

extract panel vertices

unary force in z vector to vault surface upwards

create springs from lines

planarization force to create planar panels

outcome: vaulted surface with planar panels

Pre-prototyping Ge

site vegetation

design layout (Jake Bourke)

mesh

vault 70

eometry Modelling

planarize panels

height (unary force) parameter adjustment to fit human scale

window frame for sunlight penetration

line view 71

Prototype Basic unit and connection Two panels with a void in the centre for sunlight penetration, connected by brackets at two points for each side

Bracket connection This could be constructed out of stainless steel CNC cut to specific angle and bolted for further reinforcement. Bolting the brackets in place also creates a potential for removing the gap between the panels.

Panel connection The trianglular panel is composed of three planar quad panels, connected through biscuit joints.

Photography: Jake Bourke, 2017

Demonstration of light penetration

Window frame Extruded frame to hold perspex (or glass in actual construction) panels

Third unit Demonstration of folding surface geometry

Standing position

Photography: Jake Bourke, 2017

Potential Construction Process

3D model

unroll surfaces

export to create glass cutting template

export and laser cut timber panel frames

cut glass

CNC mill grooves into framing

CNC mill biscuit joint holes / drill domino joint holes

connection to groundwork concrete footing.

section along panel connection edges to extract panel connection angles

export and water-jet cut

Material Considerations

Panel segments Material: Timber There are a range of possibilities for this. while aerated concrete may have sound insulation properties, it will likely be too heavy for the structural support provided by the backets alone. While I have considered opaque or translucent polycarbonate, the low density of the material is unlikely to provide sufficient sound dampening. The current candidate would be hardwood timber for the lightweight construction with medium sound dampening properties.

Window Material: Glass / Transparent polycarbonate / ETFE plastic Transparent polycarbonate is a strong candidate in this component as it allows for sunlight penetration and is very lightweight. EFTE plastic can also be considered due to the ease of fabrication with a stretchable material.

Panel connections Material: Stainless steel A strong connection is required due to the vast number of panel connections. Stainless steel is a very robust material and will be resistant to the panel loads while the timber connection used in the prototyping model was prone to delamination under the weight of the panels. Stainless steel can be water-jet cut for precision in defining the connection angles.

B6 Technique: Proposal

Site: Batman Park, Melbourne Client: Park visitors Site analysis: Batman Park resides adjacent to a train line to its north. This injects a high level of noise disturbance on the park, breaking the serenity and making the park an ineffective parcel of nature within a dense urban setting. There is a wide open space in the centre, devoid of trees where a pavilion could enhance the parkâ&#x20AC;&#x2122;s use, especially during days of intense heat or precipitation. Residing opposite the prestigious Crown promenade on Southbank. Visitors often sit on the opposite side of the river facing Batman Park. A well designed pavilion can enhance the view distracting from the currently a fairly loose scatter of trees with an unsightly train line bridge exposed behind the foliage. Sun: Sun path travels from East to West along the north of the site, higher in Summer and lower in Winter. Sound: High levels of disruptive noise coming from the train line, on the north side of the park. Functionality: This site is a unique opportunity to improve the human-nature relationship an underutilised green space within a high-density setting. Due to the lack of facilities on the site, Batman park rarely sees visitors despite being located in a highly dense urban environment. A provision of additional sheltered BBQ or picnic space can create a much more desirable pocket of nature for a weekend escape for nearby city residents.

[ 5 ] BATMAN PARK, NEARMAP

SATELLITE IMAGE CREDIT: NEARMAP 78

Proposal: A pavilion created from a vaulted surface containing performative patterning. Each cell composing of a panel with a parametrically defined void for a window to allow sunlight penetration

South Elevation

West Elevation

East Elevation

SOUND DAMPENING MATERIAL

LIGHT DIFFUSING MATERIAL

Technique Using geometry and patterning, we can create a cell that allows for radiation control by parametrically scaling the size of the void. As my role in the group is to provide the foundation geometry, Additional to the general vaulted surface, I have done some further exploration on the shape of the individual cells after the prototypes and uncovered a way to use geometry to better control the penetration of sunlight in a diffused and comfortable manner such that concentrated glaring spots of sunlight are not created underneath the pavilion.

sunlight restricted

DIFFUSIVE MATERIAL

sunlight restricted

DIFFUSIVE MATERIAL

B7 Learning Outcome

I have learned a wide range of parametric tools along this process. From a starting point of zero knowledge of rhino 3D, I am now able to weird a wide range of tools in Grasshopper. I have a particular affinity toward the Lunchbox plugin due to its efficient creation of tessellating pattern cells, additionally, the subdivision component adds great levels of intricacy to the cells, allowing for segmentation of performative aspects even within the single cell.

Kangaroo physics has also been a great tool. I find the ability to create 3 dimensional forms vaulted out of a surface based on force relationships alone very useful, and adds an incredible level of flexibility to base geometry. I found that one of the shortcomings of the Matsys gridshell in my Case Study 1.0 was its reluctance of the overall form to be transformed parametrically without the alteration of the input curve. Kangaroo physics has also been an incredible tool in making digital fabrication of complex structures plausible. The planarization force helps bridge the gap between paper architecture and buildable objects in the physical world.

B8 Appendix

Planarization of complex geometries. By isolating and extracting the vertices of each mesh panel, the planarization force can be applied to generate a planar surfaces that can later be exported to a laser cutter for fabrication. Using coloured custom preview, we can see the degrees of planarity on the geometry.

IMAGE SOURCES [ 1 ] “SG2012 Gridshell”, Matsys, 2012 <http://matsysdesign.com/2012/04/13/sg2012-gridshell/> [accessed 30 March 2017] [ 2 ] “SG2012 Gridshell”, Matsys, 2012 <http://matsysdesign.com/2012/04/13/sg2012-gridshell/> [accessed 30 March 2017] [ 3 ] “Smithsonian Institution”, Foster + Partners, 2007 <http://www.fosterandpartners.com/projects/smithsonian-institution/> [accessed 8 April 2017] [ 4 ] “Smithsonian Institution”, Foster + Partners, 2007 <http://www.fosterandpartners.com/projects/smithsonian-institution/> [accessed 8 April 2017] [ 5 ] “Batman Park, Nearmap”, Nearmap, 2017 <http://maps.au.nearmap.com/> [accessed 20 April 2017]

PART C

DETAILED DESIGN

C1 Design Concept

Feedback from the interim presentation highlighted various key areas in our design that needed rethinking.

Feedback: 1. Solving planarity with forces but then dividing them into triangles for solar performance defeats the purpose. And solving planarity by dividing the mesh into triangles does not explore the bounds of parametric design in a forward-thinking manner. 2. A pattern should use a cell-structure to keep a uniform base point. The blend of rectangular and triangular shapes are not structures in a neat way. 3.

Pattern should be 3-dimensional to create a more interesting pattern.

4. Design could incorporate an exposed focal point in the centre for other activities

Solutions: 1. Rethink the design to solve planarity for digital fabrication using geometry instead 2.

Use a tessellating polygon as a base cell to create a continuous surface

3. Incorporating of an exposed area as a focal point of the pavilion for performance artists to display their art in an intimate, interactive environment. 4. Perform transformations on the polygon base cell to create a 3-dimensional pattern.

[ 1 ] CHRYSALIS, MATSYS 92

Project: CHRYSALIS (III) Designer: MATSYS Date: 2012 Location: Permanent Collection of the Centre Pompidou, Paris, France Exhibition: Multiversites Creatives, May 2 â&#x20AC;&#x201C; August 6, 2012

Using a polygonal cell structure tessellating on a base surface, the extruded cells are able to create an additional dimension of control against radiation penetration. This project uses a self organising cell layout with non-uniform polygons of varying edge numbers. While the cell structure layout may be useful to inform my design, I will need to explore different construction methods as this creationâ&#x20AC;&#x2122;s materiality is not suitable to be used as a permanent structure. The cells are hand assembled from laser unrolled surfaces laser cut out of a sheet of composite paperbacked wood veneer folded into a pod.

[ 2 ] SHELLSTAR PAVILION, MATSYS

[ 3 ] SHELLSTAR PAVILION, MATSYS 94

Project: SHELLSTAR PAVILION Designer: MATSYS Date: 2012 Location: Wan Chai, Hong Kong Exhibition: Detour 2012

The shellstar pavilion utilises a frame and membrane system to synthesise a hexagon based cell pattern. The uniform tessellating cell layout creates a baseline for performative patterning that can be altered for environmental control. In this precedent, the hexagonal membranes have holes with size variance to control the amount of solar penetration. This design demonstrates that a pattern can be applied to a self-supporting surface-only form. The frame and membrane fabrication method may not be useful for my design as it constrains the cells to 2 dimensions.

C1 Design Concept continued

Surface Form Finding

Macro Site Analysis

Micro Site Selection

Pattern Creatio

n n

Radiation Analysis

Pattern Application

Parametric Transformation

Further Macro Site Analysis Users and experience Situated across the Yarra from the crown fire-breathing towers, the park serves as a viewing platform of the nighttime displays at a quiet, serene distance away from the bustling Yarra promenade. The park is also host to various groups of city street performers practicing and refining their craft before their performance on the promenade. The designed space can serve to facilitate this use by morphing the macro form to point users inwards toward a central focal point, creating a weaving, intimate and interactive stage-less performer experience. [ 4 ] STREET PERFORMANCE ARTIST 98

[ 5 ] YARRA PROMENADE 99

100

Micro Site Selection Traffic analysis Through analysis of the space users movement and concentration across the site, I have determined that the park is best facilitated by providing a sheltered / shaded space within close proximity to the BBQ area. Traffic analysis reveals two types of transport across the site: Ephemeral users and leisure users. Ephemeral users are commuters that pass through the East-West paths on the North and the South of the site in the dashed black line. They will see the pavilion at a distance, to them it should appear as a sculpture. By locating the pavilion within the trees, the ephemeral user catches passing glimpses of it weaving through its relationship with the trees. Leisure users take slow walks through the grass mapped in the dashed blue line. These movements across the park are not to be obstructed by the pavilion. These are the active users of which the pavilion can provide an intimate experience for. The hot-cold gradient represents the pavilion footprint, red representing the edges proximity to the ground / openness of the walls. This relationship is defined by the trees, ensuring the three-anchor-point surface will have structural support while avoiding the obstruction of traffic by using points of close proximity to the trees. 101

Surface Form Finding

site response algorithm: J.Bourke (group-member) Environment Mapping Tree footprints

Footprint Mapping Outer Pavilion Edge

Inner Curve: Surface edge and design focal point Intermediate Curve: Definition for human scale

102

Outer Curve Transformation Transform curve by moving control points in z direction. Anchored at 0 at tree footprint intersections

Inner Curve Transformation Creating two entrances and two anchor points

Defining the human Scale Setting a comfortable ceiling height for the human scale by moving curve in z direction ( group-member J.Bourke algorithm concludes here )

103

Surface Form Finding continued surface creation algorithm: J.Zeng Curve Division creation of a list points along each curve. (15 divisions on each curve)

Point List Viewing list numbers of points to determine the arrangement

Shift List Reorganising the list of points to create a matching arrangement

104

Arc Creationg of arcs connecting corresponding list numbers.

Arc Perspectice View

Loft Resulting surface

105

Pattern Creation pattern creation algorithm: J.Zeng Hex Pattern Pattern composed of hex cells and centre points

Defining Height Bounds Move a duplicate of the pattern 00 normal to the cellâ&#x20AC;&#x2122;s plane. Resulting pattern 01

3D Cell Creation Connect cell vertices of pattern 00 to centre point of pattern 01

106

Defining Cell Height Connect centre points of pattern 00 and pattern 01 with a line to use as definition for 3D cell height

Intersecting Geometry Creation of a planar circle along line at point X

Split Brep Splitting cell into two items at intersection. Removal of unwanted top half of cell geometry

107

Pattern Creation continued Cell Detail View pattern creation algorithm: J.Zeng Circle along point X A circle is created along point X on the height line to define the size of the hole in each cell

Geometry Intersections Cell is split into two items at insections between the cell and the circle

Item Selection Unwanted top geometry is removed. Remaining useful geometry is selected from item list

108

Top View

Demonstration of Relationship between intersecting height and hole size

Perspective View

Data from radiation analysis will be used to determine where the intersecting circle will cut the cell at height X

109

Pattern Application

110

Base Surface Geometry

Application of Pattern on Base Geometry

Parametric Transformation Insertion of data from Radiation Analysis using Ladybug and Honeybee. Radiation values at cell centres as test points remapped to a value between 0 and 1, defining the height X of the intersecting circle that cuts the cell.

Algorithms Radiation analysis: O.Zuccala (group-member) Output data remapping & cell transformation: J.Zeng

111

Radiation Analysis Algorithm: O.Zuccala (group-member) Southbank Seasonal Radiation Domes

Summer

Autumn

Winter

Spring

Radiation domes reveal that the direction of sunlight is spread fairly evenly in Summer, drifts toward the north in Autumn, and deeper into the north and 15 degrees toward the East in Winter, leaving the South direction very cold. In Spring, radiation drifts back toward the middle before returning back to a central position in Summer. 112

Equinox / Solstice

March Equinox

September Equinox

June Solstice

December Solstice

Melbourne will be in night time during the moment of the March Equinox, while the Sun will be toward the West during the September Equinox. In the June Solstice, the Sun will be in the North while the December Solstice will have a North-West Sun. 113

Radiation Analysis on Geometry Surface 114

Radiation Design Purpose Using the radiation analysis, we can determine the amount of radiation that impacts on the pavilion surface and use it to create an environment akin to a positive feedback loop. Within the pavilion will be a space that amplifies the conditions of the site environment, multiplying the tangibility of differential experience of the open space and the shaded area beside trees. The radiation test points receiving the most sunlight will have larger cell openings to allow wide, spotlight-esque columns of light through. Meanwhile the test points receiving very little light will have smaller cell openings such that it receives even more shade. This serves to amplify the differences in these spaces, giving the space user a conscious and novel experience. Within the space, the user should see powerful columns of light dance through the curves and weave around the cool darkness of the pavilion walls.

115

Transformation Applied Cell opening size corresponding to radiation

Transformation Applied (view 02) Cell opening size corresponding to radiation 116

Radiation Analysis Most notably, the upper sections of the pavilion receive the most sunlight. There is also a slight increase in radiation towards the north in comparison with the south side of the surface. As the surface curves in and folds down, radiation levels drop significantly, mainly on the inner folds and the southern wall. The North wall of the pavilion receives an comparatively high amount of radiation compared to other vertical sides on the pavilion. Transformations to cells have been applied. These images depict smaller cell openings where radiation levels are closer to blue (low radiation), and larger in red areas (high radiation).

Algorithms Radiation analysis: O.Zuccala (group-member) Output radiation data remapping & cell transformation: J.Zeng

117

Comfort Levels Algorithm: O.Zuccala (group-member)

*We experienced issues with the plugins when attempting to measure the radiation levels beneath the pavilion shelter. 118

Comfort Levels During the parkâ&#x20AC;&#x2122;s hours of use (between 6am to 6pm) the space is mostly dominated by comfortable to hot temperatures, with occasional extreme heat during Summer and a few rare bands of cool in the Winter months.

119

Laser Cut Each cell comes with six panels, six interior angle units, and a number of inter-cell exterior angle units Panels are retrieved by unrolling each cell angle units are retrieved by using grasshopper to define the intersecting lines between a circle and the junction lines between cells and cell panels. Arrange Flat Cell panels are arranged to according to assembly label

Fabrication Diagram

Gang Nail Plates Panels are connected via 2 gang nail plates at each edge

Bend to Angle Each cell comes with six panels, six interior junction angles, and a number of inter-cell junction angles

Secure to Angle The angle is then locked into place via 90 degree brackets bolted to the angle unit and the panel

repeat for inter-cell connections 120

121

122

123

C2 Tectonic Elements and Prototypes Connection Prototype 01 Custom Angle Biscuit Joints Custom-angle biscuit joints are able to create the most seamless finishes. However, they are very difficult to digitally fabricate, and manual production at this quantity is not efficient.

Connection Prototype 02 Finger Joint The finger joint is another seamless joint, however, it is not suitable for this project because the joining edges are at non-90 degree angles on two separate axis, making it not possible to be digitally fabricated as the laser cutter can only cut at 90 degrees normal to the plane.

Connection Prototype 03 Slotted Bracket This joint method can be digitally fabricated laser cut to precision, however it leaves a gap between the cells, displacing the entire structure.

124

Connection Prototype 04 Gang Nail Plates Nail plates allow for easy assembly. The pieces of the cell can be laid out flat and nailed together on a flat surface before bending the plate to the angle defined by precise laser-cut angle guides

Connection Prototype 05 Gang Nail Strip Gang nail strips are have the same properties as nail plates, but with the added benefit of slightly less invasive appearance on the design.

Connection Prototype 06 Bolted Brackets Brackets provide great structural support and can be custom pressed to angles defined by the digital model.

photographs: J.Bourke 125

Tectonic Model Prototype 01 photographs: J.Zeng

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Tectonic Model Prototype 01 Scale 1:10 Materiality This prototype uses perspex as a material. The ever-slightly translucent nature of perspex makes the material absorb the light and seem to glow when placed directly in front of a lightsource. While it creates an interesting effect, the stark white brightness may be too intrusive on the natural park aesthetic. Upon review, perspex may not be suitable for the final design. Digital Construction Method As each surface of the hex cell is unique, traditional construction methods would be unfeasible. These panels were made by unrolling the cell surface in Rhinoceros and laser cutting them to precision and labelled for assembly. Connection Method These cells are connected using hinges locked into place by an angle-defining unit. The angle is digitally fabricated from a laser cutter by using an intersecting circle brep in grasshopper at the the junction lines between cells. Upon review, hinges, even welded may be too weak to hold up the entirety of the structure.

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Tectonic Model 02 Scale 1:10 Materiality This model uses MDF to represent the Bamboo panels to be used on 1:1 construction scale. Bamboo panels are lightweight and are one of the most sustainable timber products available. Digital Construction Method As each surface of the hex cell is unique, traditional construction methods would be unfeasible. These panels were made by unrolling the cell surface in Rhinoceros and laser cutting them to precision and labelled for assembly. Connection Method Gang nail plate strips represented using white tape. Using gang nail strips allow for the panels to be assembled flat and then bent into place using angle defining units digitally fabricated from the grasshopper intersecting circle breps. On a 1:1 construction scale, the nail plate strips will appear as frames around the cells, with a much less intrusive appearance.

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C3 Final Detail Model Final Model 01 of 02 Tectonic Model Scale 1:10

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C3 Final Detail Model 02 of 02 Schematic Model 1:100

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Learning Objectives and Outcomes Final presentation Feedback from the presentation highlighted some key areas we could improve upon in our project. While we had made a radiation analysis on the structure, we needed to show more information regarding the radiation analysis underneath the structure, as that will be the space relevant to the users. Additionally, exploration of construction methods could have been more in depth and the models constructed were not indicative of a 1:1 connection. Upon receiving the feedback, I have added additionally diagrammatical information detailing the connection methods within my journal. Role of computation Learning the vast capabilities of computational design has transformed my understanding of the designerâ&#x20AC;&#x2122;s role in the future of architecture. The future designers should be far more grounded in performance than artistic concepts. This may bring architects closer to the role of current industry technical consultants and facilitate collaboration between professions in order to produce better cohesive designs. Parametric Modelling My understanding of parametric modelling has grown exceptionally. I have learned to use various different methods of modelling from prescriptive algorithms that create precise geometry to my intention (such as my creation of pattern cell types as well as my design of the base geometry in order to fit the input constraints of the pattern application) to exploration of complexities within patterning (eg. pattern subdivision exploration in part B). I have also found it incredibly intriguing to be able to use forces to model geometry with kangaroo which I used for the design initially before revamping after the interim feedback. While the task was mainly performed by my group member O.Zuccala in this project, my new understanding of ladybug and honeybee for performing environmental analysis will no doubt prove useful for grounding my future designs in practical performance. Digital Fabrication I have also learned useful ways to digitally fabricate my design for prototyping as well as for precision in construction. Some new skills I need to work on is the ability to code a python script that can automatically unroll and label all geometry into to the laser cut file such that the assembly numbers are etched into the pieces. 151

PART C IMAGE SOURCES [ 1 ] “Chrysalis (III)”, Matsys, 2012 <http://matsysdesign.com/2012/04/13/chrysalis-iii/> [accessed 25 May 2017] [ 2 ] “Shellstar Pavilion”, Matsys, 2013 <http://matsysdesign.com/2013/02/27/shellstar-pavilion/> [accessed 25 May 2017] [ 3 ] “Shellstar Pavilion”, Matsys, 2013 <http://matsysdesign.com/2013/02/27/shellstar-pavilion/> [accessed 25 May 2017]

[ 4 ] “maqi aka lauraleye dancing with fire flies”, Loupiote, 2007 <http://www.loupiote.com/photos/1359757346.shtml/> [accessed 25 May 201

[ 5 ] “Yarra Promenade”, Crown, 2015 <https://www.crownmelbourne.com.au/general/most-checked-in-location-for-2015/> [accessed 25 Ma

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