Le Jason journal by Jason Le

STUDIO AIR 2014, SEMESTER 2, PHILLIP BELESKY JASON LE JOURNAL

Table of Contents 4

Introduction Part A: Conceptualisation

8 10 12

A1.0 Design Futuring A1.1 Precident Works: Cetus, A Land Art Generator A1.2 Precident Works: Tetras

14 16 18

A2.0 Design Computation A2.1 Precident Works: Vein Unveiled A2.2 Precident Works: Sock Farm

20 22 24

A3.0 Composition/Generation A3.1 Precident Works: Parametric Columns A3.2 Precident Works: Southern Cross station

26 27 28

A4.0 Conclusion A5.0 Learning Outcomes A6.0 Appendix - Algorthmic Sketches

29 30

Reference list Image references Part B: Criteria Design

34 36

B1.0 Research field: Decoi / Onemain Street B1.1 Research field: ICD / ITKE research pavilion 2010

38 41

B2.0 Case study 1.0: Bang restaurant / Office DA B2.0 Case study 1.0:: Successful outcomes

B3.0 Case study 2.0 / Japanese Kureon cafe ceiling

44 49

B4.0 Technique Development B4.0 Technique Development / Successful outcomes

50 51 53

B5.0 Technique Prototype: model making B5.0 Technique Prototype: model 1.0 B5.1 Technique Prototype: Testing performance

54 55 56

B6.0 Technique Proposal: Interactive pavilion B7.0 Learning objectives and outcome B8.0 Appendix / Algorithmic sketch

Part C: Detailed design 60 67 68 69

C1.0 Design Concept / New design C1.1 The site C1.2 Grasshopper definition C1.3 Possible construction

71 73 74

C2.0 Tectonic elements and prototypes / materials C2.1 Core construction elements C2.2 Prototype construction

81 88 89

C3.0 Final Detailed model / 3D rendering C3.1 Model preparation C3.2 Presentation model

C4.0 Learning objectives and outcomes

C5.0 Appendix

INTRODUCTION PROFILE AND PREVIOUS WORK: JASON LE My name is Jason Le. Studying Architecture was not always on my mind. My initial dream was to pursue something that required a design component or the use of a pencil. This lead me to illustration and drawing. However, through my high school life at Mazenod college, I was taught buy the right teacher at the right time, leading me to decide what my future would be and how to use my full potential through designing in the form of Architecture. I am a midway second and third year student studying Bachelor of Environments with prior knowledge and studies at RMIT in Bachelor of Landscape Architecture however was incomplete. The path at Landscape gave me a clearer image of what I wanted to do hence I transferred to Melbourne to continue my studies. Architecture is an amazing field with the idea of design ranging from functional to aesthetically beautiful. Going on the journey of Architecture, my first impression was â&#x20AC;&#x2DC;to design a building for people to appreciateâ&#x20AC;&#x2122;. The amount of knowledge that comes from studying changed my impression. Architecture is without a doubt limitless however to design a successful building or structure, it is the conceptual idea, functionality and level of interaction between the people and building that makes it work. The components that make Architecture enjoyable is the ability to design and develop in different ways from model making, 3D computer generated design and hand drawings and compiling with a team. What drove me to Architecture is my ability to use these techniques and to further enhance the quality of my work through studies. Having travelled to Hong Kong, Vietnam and Sydney throughout my life, I have seen the different types of architecture and qualities that different states and countries have. The experience is unforgettable and will be a precedent in life for future projects. Although I am at the age of adulthood, I still enjoy the leisure of lego and video games. I also enjoy projects to customise or build a car. Therefore my hobby of building is what lead me to my aspiration as a future Architect.

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Fig.1: STUDIO EARTH WORK, ART GALLERY PAVILION ON HERRING ISLAND

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PART A: CONCEPTUALISATION

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A1.0 DESIGN FUTURING TONY FRY

The future as we know is developed overtime and is not ‘presented as an objective reality independent of our existence’1. Design futuring is about changing the way we see the present through the development of design, the way we think and redirecting our views on using non-sustainable ways of design. The reason behind this is our nature of ‘whenever we bring something into being we also destroy something’ 2. Therefore an approach to design futuring will encourage individuals as designers to contribute to more sustainable and environmental future and move from ‘sustainable development to the development of sustainment’ 3. By doing so, the design should have minimal impact on the environment but at the same time contribute to a more sustainable lifestyle. Two things to understand about Design Futuring is that we are on a verge of ‘confronting our nemesis - a defuturing condition of unsustainability’4 through embodied energy and biological footprint of a design. As a deterrent, we are redirecting our inhabitance and using design as the ‘front-line of transformative action’ 5.

1 2 3 4 5

Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 2 Fry, Tony (2008), Design Futuring, pp. 4

Fry, Tony (2008), Design Futuring, pp. 10 Fry, Tony (2008), Design Futuring, pp. 1 Fry, Tony (2008), Design Futuring, pp. 6

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A1.1 PRECIDENT WORKS: CETUS, A LAND ART GENERATOR

Fig.2, CETUS, A LAND ART GENERATOR, MICHELLE BLACKETT

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Fig.3, CETUS COMPONENTS

Cetus generator is a design as an approach for visitors to discover the possibilities and benefits of renewable energy. This is done with an interactable surface that visitors are able to walk across while the structure demonstrates using a unique design of solar panels at the tip of the structure. The attraction comes from the renewable energy in the form of electrical currents that manipulate the eltromagnetic field to change the shapeof the smart liquid movement presenting to the viewers of the structures capablities. This is done by the solar panel collecting sun light and filtering the energy into around the generator, powering the structure. At the same time, the structure is aesthetically pleasing with its modernistic approach of minimal material in an open space by allowing people to interact over, under and around it.

The aesthetic form is designed to appeal to the eye as a soft boundary, demonstrating the flow of liquid. Curving the structure further promotes the interactable factor and as a result is a connection between flow and response of the behaviors of the people when they walk across the structure. The structure is therefore appealing to the emotion in people. Their reaction to the form developed shows their understanding of the renewable energy and interest. However, the concept is unclear as to how the ferro fluid reacts to solar energy. Potentially the entire structure could have been designed with parametrics and computation from a single surface using a ‘finite set of rules’6.

6 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 STUDIO AIR

A1.2 PRECIDENT WORKS: TETRAS

Fig.4, TETRA, Ann Preston, Roger White, and Noah Golden

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Fig.5, TETRAS SITE LOCATION

Tetra seeks to appeal to the visitors through aesthetically visual structure in the form of tetra shape. The open air pavilion, made entirely out of traingular shapes, tiles and translucent glass is complimented by the functionality of the site as a a solar field that responds by yielding 6.0MW of electrical power from photovoltaic arrays and parabolic collectors for electrical collection during the day. The tetra shape is not only emphasized in the pavilion but also surrounding it at 55,000 square meters of solar generator fields. Sunlight and shade comes into the design with an aesthetic appeal by shining through the open triangles or translucent glass. The design of the pavilion is unique that it stands out on its own. By doing so, the artist team is aiming to achieve the goal of beautifying the plant system.

Fig.6, TETRAS FLOOR AND WINDOWS

Future planning applied is the ability to expand or retract the size of the field. The site location was chosen so that development has little to no impact on the ecological system. However, the solar panel field had no relation to the functionality of sustainability with the pavilion and as a result are 2 seperate entities. The design of the pavilion was a distraction away from the solar panels which does not justify the quality of a potential solar panelled pavilion. The floor and window patterns are potentially produced through parametric means of variables, possibly through ‘sketching by algorithms’ 7.

7 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 10 STUDIO AIR

A2.0 COMPUTIONAL DESIGN

Fig.7, GUGGENHEIM ANALOG SKETCH

Computational design has become a popular way of design in current times, a transition from the original hand drawings and visual techniques. Computational design influences design for the future in a unique way, as a practice that employs computing techniques through the design process. This involves the relationship between human creativity, exploration producing an effective product and can be reknowned through the ‘Vitruvian effect - (a digital continuum from design to production’. Computing allows designers to bring to life their ideas while being about to create changes and variations to their design seamlessly aiding in their ideas being more complex, more novel and intellectual.This process

employs a ‘continuous logic of design thinking and making’ 8. ‘Computation allows designers to extend their abilities to deal with highly complex situations’ 9. It has been integrated into today’s architecture in the form of programs such as Rhino and Grasshopper. The design process of computing will continue to develop and become accessible to designs to explore. Computational design makes the design process limitless, allowing the designer to become interactive with their work creating a flexible modelling of design.

8 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp 3 9 Peters, Brady. (2013) ‘Computation Works pp. 10 14

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Fig.8, GUGGENHEIM PRODUCTION

This type of design allows the flow of ideas,inspiration and techniques put to good use in the industry from engineers, architects and other consultant workers on a project. Frank Gehry’s Guggenheim (FIG 8) shows evidence of Architectural transformation from the prior modernist architecture, ‘It was analog in design (FIG. 7) and digital in production’10. Complexity and precision in design becomes simple with computation. Computational design is combined with geometries to be manipulated precisely to the designer’s

specifications through computing. Further exploration is enabled through new construction materials and technologies. The geometric sense of people are envisioned with vast possibilities. The development of computational design will continue to develop. Future designs have been influenced by computation to form a liberated design that can be easily iterated and refurbished. The progress of computation seeks to enhance the quality of work through common and complex methods of algorithm which expands the human thinking and knowledge.

10 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture pp. 1 STUDIO AIR

A2.1 PRECIDENT WORKS VEIN UNVEILED

Fig.9, VEIN UNVEILED, Bambi L Yost, Chad Hunter, Isabelle Leysens, Henry Narigon, Nate Schlorholtz

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Fig.10, VEIN UNVEILED

A good example of computational design the wind powered sculpture. It is generally a form that has weaved through the mounds of its site (FreshKills Park). The form itself of the sculptures have similar flow given that it is designed by using similar parameters with addition or subtraction of variables in order to reach the desired form. Exploration has been developed through the many types of loops and truss like forms that differ from each weave.

The iterations that can occur in this project will affect not a single portion of the sculpture but the entire form therefore the process of computation required for this project continued from one experiment to another. This project deals with ‘externally exposed constraints such as site conditions, climate, functionality’11 hence is consider an architectural design.

11 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 2 STUDIO AIR

A2.2 PRECIDENT WORKS SOCK FARM

Fig.11, VEIN UNVEILED, Bambi L Yost, Chad Hunter, Isabelle Leysens, Henry Narigon, Nate Schlorholtz

The sock farm is composed of many circles is a paraglider of high altitude kites. The various sizes suggests the computational design was developed through algorithms that were originally a process. The shapes are pointing in different directions, and by playing around with the variables it could extend or retract.. It is also composed of rings that have branched into a circular

system while floating above the natural landscape. â&#x20AC;&#x2DC;Computation aids the design with mathematical inputsâ&#x20AC;&#x2122;12 that replicate the flow of the landscape so that the kites can float 1 mile up to the sky. The data that is created from one circle is replicated several times with differences to variables allowing different branching of the circular system and heights of the kite. 12 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture pp. 4

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Fig.12, VEIN UNVEILED, Bambi L Yost, Chad Hunter, Isabelle Leysens, Henry Narigon, Nate Schlorholtz

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A3.0 COMPOSITION/GENERATION COMPOSITION Composition is the form of design termed the top-down design. The design process for this method follows a designers or architects design of an overal shape using hand drawings, sketches or hand modelling. Therefore technique is usually a strategy for architects to control how the overall form or function of the design created. Computation is used to fill in the gaps after the form is visualised. A general design process would be in the position of using sketches and physical models or traditional computerised drawing such as CAD and photoshop to outline the basic shape of the structure. Grasshopper can then be used to redefine the shape so that in the future it will be easier to construct. By tweaking the design, the overall performance is also enhanced. The advantage of composition is that the later progress of computation allows the designer to limit the problems using inspiration and human intellect to ‘generate and unexpected result’13 and then they are able to explore options through ‘modification of the program’14 and writing algorithms. GENERATION The generative strategy is used by architects to specify the ideal form of their design however, instead of using hand drawings and physical production of models, the architect uses computation in the form of parametrics and algorithms to create the set of rules. However they are still able to define the set boundaries for the design, constraints particular structure systems and combining these boundaries with rules on a computer to ‘generate a new form and alternatives’15. The new form along with the constraints being optimized should work well together. These options are spread out for the architect to decide which is the best in terms of performance output. Generative strategies are more complex than compositional given the restriction of working free by hand. Because of this, the strategy is generally used for sections or portions of a building such as facades, walls or floorplan rather than the entire structure. Fig.13. Generative thinking expanding

13 Peters, Brady. (2013) ‘Computation Works pp. 10 14 Peters, Brady. (2013) ‘Computation Works pp. 10 15 Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 159 20

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Fig.14,ITERATION PROCESS

FROM COMPOSITION TO GENERATION

PARAMETRIC DESIGN

The change from composition generation revolved around the idea of calculus or logical thinking to allow us to model the implications of change within a dynamic systems. The use of a computer enables architects to model the behaviour of a biological system. Therefore these designs are developed by parabolic rules, to model nature. Progression of iterations from algorithms and parametrics enables the design to develop. This can be referred to a complex system, which is made up of subsystems that create a network of creations. The logical thinking behind generative strategies allows us to develop naturally around boundaries but at the same time make changes at a whole different level reducing the amount of time required to iterate the design as opposed to compositional processes. Architects also use parametric designs which is a relationship defining of a broader design. This is done by ‘focusing on the logic that binds the design’16.

Parametric design is defined purely by the constraints and not the shape itself. Iterations to a design is determined automatically through most parametric design softwares such as Grasshopper. It is based on algorithms which enables the control over a design process and hence creating ‘endless opportunities to explore for forms that are not practically reachable otherwise’17.

16 Woodbury, Robert F. (2014). ‘How Designers Use Parameters’ pp. 153

17 Woodbury, Robert F. (2014). ‘How Designers Use Parameters’ pp. 166 STUDIO AIR

A3.1 PRECIDENT WORKS: COLUMNS

Fig.15. MICHAEL HANSMEYER’s COLUMNS

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A3.1 PRECIDENT WORKS: COLUMNS

Michael Hansmeyers video on Building unimaginable shapes demonstrates the possibilities of design through designing a process. Without any biasness, no preconception, free of education and reflect on the precedent form of nature, a natural form will develop and can be a process of morphogenesis in design. His design started from one surface, 4 cylinders that act as columns. A traditional column varies from historical times particularly in Roman and Greek architecture (FIG. 16). The use of iterations create new form from intersecting surfaces so that they become incredibly small. Iterations are formed through trial and error by tearing and stretching. Because of trial and error method of parametrics, the design becomes a process of generation. Most of these forms are undrawable and would take an architect over months of work to reproduce. The columns were eventually built in layers to stack over each other using computational methods for fabrication. The 16 million faces on the column creates a unique form over a single surface and therefore the generative strategy allows us to design our own process of rules without being limited by our capabilities of physical processes. The final design varies from each otherwith endless possibilities (FIG. 15).

Fig.16. HISTorical columns

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A3.2 PRECIDENT WORKS: SOUTHERN CROSS STATION

Fig.17. SOuthern cross station surface

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A3.2 PRECIDENT WORKS: SOUTHERN CROSS STATION

Fig.18. SOuthern cross station under roof surface

Grimshaw architects collaborated with Jackson architecture for the expansion of the station. The overall design did not reflect the common fabrication methods of traditional surrounding buildings but uses a surface with iterations of waves forming hills and dips. Ideally a simple design that roofs the head of people, the outside of the roof is constructed of steel panels (FIG. 17). Underneath the roof surface is a tessalation revealed by the iterations made from the surface. In reflection to comparison of Hanemeyers column process of design, the Southern Cross station uses the simple form of a flat surface to create a more complex structure. The capabilities of logical thinking to iterate a design shows no boundaries to the amount of work that can be put out for practice.

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A4.0 CONCLUSION

Computation has become a critical component in modern architecture. Complementing the strategy of design is through the use of parametric design programs such as grasshopper enables designers to have the flexibility and larger range of complexity to produce a unique design. The role of design has become much simpler with less time consumption and also spreading the practice throughout different professions such as architecture, engineering and other geometrical involvement works. Computational tools enabled what the past designs difficulty the ease of different forms to reality. Parametric designs is also moving up in the design community in terms of adapting the strategy into their design process. Computation is leading architects to design a more sustainable and efficient building through simple connections of combining parametric designs with fabrication and materialising their project. A vast array of designs can be created through the endless opportunities of geometry iterations from a constraint.

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A5.0 LEARNING OUTCOMES

My design approach for the semester is to use generative strategy to design and explore computation to create new forms and the possible outcomes. Initially my first thought of architectural design consist of plans and hand drawings however after using grasshopper and learning the foundation of connecting nodes and wires I will be able to develop my own free forms with ease. It will be beneficial to my future projects to reduce the time frame of the work but at the same time the ability to create a complex design Prior to studio air, I had high knowledge of the general ways of design, from sketch to photoshop and CAD. Being introduced to grasshopper and rhino, I had minimal understanding of rhino and non whatsoever of grasshopper. The introduction of parametrics, geometrics and using logical thinking for design will has taught me the type of thinking required for this strategy. Changing parameters for a design creates flexibility for studio designs and would have given me an advantage for my previous works.

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A6.0 ALGORITHMS

There has been three algorithm tasks throughout tutorials. (FIG. 19) was the first creating a square that is then lofted to create a cube. The different variations of the number slider enabled me to create the pyramidal shape.

Fig.19. algorithm one, tower

(FIG. 20) was the Building 80 at RMIT. The initial state was a coloured wall however i changed into a tower by reshaping the curves and points to make some sides rise and fall. It goes to show that through grasshopper, after completing countless parametrics and algorithms, variation to the initial curve can still create an entirely different and unique design. (FIG. 3) was the forest of trees. Initially was several cones that rose from the surface. However, after playing around with the sliders, I was able to create

Fig.20. Algorithm two, rmit building 80 facade

Fig.21. Algorithm three, Forest of trees

Fig.22. Algorithm three, Forest of trees, NEGATIVE ERROR

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PART A: CONCEPTUALISATION REFERENCE LIST 1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 2. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1-10 3. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 4. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 5. Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153–170 6. 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

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IMAGE REFERENCE

FIG 1. Studio Earth work, Art gallery pavilion on Herring Island FIG 2. Cetus LAGI

http://landartgenerator.org/LAGI2010/cetus1/

FIG 3. Cetus LAGI

http://landartgenerator.org/LAGI2010/cetus1/

FIG 4. Tetras LAGI

http://landartgenerator.org/LAGI2010/tetras/

FIG 5. Tetras LAGI

http://landartgenerator.org/LAGI2010/tetras/

FIG 6. Tetras LAGI

http://landartgenerator.org/LAGI2010/tetras/

FIG 7. Gugganheim sketch

http://www.cineplex.com/Movie/sketches-of-frank-gehry/Photos

FIG 8. Gugganheim building FIG 9. Vein Unveiled LAGI

http://sculpturalthings.files.wordpress.com/2013/07/htkb_dsc_1076w.jpg

http://landartgenerator.org/LAGI-2012/unveiled/

FIG 10. Vein Unveiled LAGI

http://landartgenerator.org/LAGI-2012/unveiled/

FIG 11. Sock Farm LAGI

http://landartgenerator.org/LAGI-2012/soc26010/

FIG 12. Sock Farm LAGI

http://landartgenerator.org/LAGI-2012/soc26010/

FIG 13. Generative thinking expanded FIG 14. Iteration process

http://edgeryders.eu/sites/default/files/user-L%C3%A9na%C3%AFk%20N%C3%A9e/Bench05.jpg

FIG 15. Michael Hansmeyerâ&#x20AC;&#x2122;s columns FIG 16. Historical column

http://www.yatzer.com/Ornamented-Columns-by-Michael-Hansmeyer

http://www.veranda.com/cm/veranda/images/rW/ver-Chatsworth-Tuscan-Wood-Column-mdn.jpg

FIG 17. Southern Cross surface

http://archinect.com/forum/thread/76696/rhinoscript-grasshopper-mmmm

FIG 18. Southern Cross under surface FIG 19. Algorithm one, Grasshopper FIG 20. Algorithm two, Grasshopper FIG 21. Algorithm three, Grasshopper

http://agatakycia.files.wordpress.com/2011/12/pattern2a.jpg

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http://archinect.com/forum/thread/76696/rhinoscript-grasshopper-mmmm

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PART B: CRITERIA DESIGN

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B1.0 RESEARCH FIELD DECOI / ONEMAIN STREET

Fig.22. CEiling pattern

The project is a refurbishment of an office using the conventions of CNC and sustainable timber. It doesnâ&#x20AC;&#x2122;t use that standard protocol of production and therefore is a seamless customized fabrication. It primarily consist of two planes, the floor and ceiling, where the ceiling has bee parametrically developed to create a curvature in all parts of the ceiling. The fabrication is made by stacked cuts with gaps to accompany the ventilation along with the bumps and valleys of teh ceiling, they perform technically to capture the glass. The parts are prefabricated accurately using minimal construction materials due to the flow of sections, construction became simpler. The algorithm in the construction of the design was made automatic so that it can be sent as a miling file for fabrication with minimal error. The material used was sustainable forested finish spruce ply.

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B1.1 RESEARCH FIELD ICD / ITKE RESEARCH PAVILION 2010

Fig.23. Night time light

Fig.24. CNC cut

Fig.25. under construction

An innovative structure made by the institute of computational design,was made as a temporary research pavilion. The design was very material oriented with the relationship of computation for the process of material. The material outcome was a bendable elastic plywood strip, creating the arc shape of the pavilion. The materials perform with constraints and pressure. The form is determined by the pressure. The design is very based on the property of the material in order to get it to perform in the right way. This is done through virtual processes that the physical processes is rarely seen at performing with these intricacy. Entire structure is based primarily on material quality such as the bending behaviour of the plywood. Location of connection points are crucial to its behaviour forcing the design to have 80 crucial components with different connections with another 500 unique parts. By utilizing materiality of the real world, they are able to construct the pavilion with 6.5mm birch plywood sheet

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B2.0 CASE STUDY 1.0 BANG RESTAURANT / OFFICE DA

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B2.0 CASE STUDY 1.0 SUCCESSFUL OUTCOMES Banq restaurant was designed using sections and layering to create the columns and the canopy itself. The design gives the elegance of flow within the restaurant, for a tranquil moment at dinner or lunch. The design considers its structural and mechanics to form the design hence is a successful approach to a practical design. The iterations made from the 30 matrices are completed through sectioning using different curves and level of section flow. Each create a unique shape on the aerial view. The experimentation completed allowed me to explore the vast opportunities available to sectioning, creating shapes not regularly possible and functional but by doing so, I am able to pick out the most successful to further improve my design. The three successful outcomes portray section in the form of a structure.Although simple, it can be put to proactical use with modifications to make it more complex, either combining the 3 into 1 element creating a uniform experiment.

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Fig.26. cafe Kureon

In comparison to the banq restuarant, the cafe kureon in Japan uses similar style regarding sectioning however in a form of blocks or logs. The logs are used to create the canopy as well as the columns that hold the structure together. The design of the cafe integrates both functionality and mechanics to create a practical use for the structure. Each log created has the visual appearance of manuoevrability, where removing one log, the structure will still remain in shape. The reverse engineering of the model was to make the ceiling canopy. This structure will help with my design for simple appiication of logs or tiles similar to a tiled surface however using logs that can support each other. It is created by lofting curves to create a surface and using list item to create points on the x and y edge of the surface plane. With a number slider, I am able to change the variables to create more list items along the edge. The points undergo offset to create the sections with extrusion to give depth and density such as the logs. The box to trim will remove portions of the structure to make it similar to the kureon cafe.

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B3.0 CASE STUDY 2.0 JAPANESE KUREON CAFE CEILING

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B4.0 TECHNIQUE DEVELOPMENT CURVE AND CULL MOVEMENT

The first set consists of altering distance and variables of sections while retaining the slab look.

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CURVE VARIATION IN Z-DIRECTION

The curves have been changed in the z direction to create a more complex surface of sections. Extrusions have been extended to show more depth in some of the sections hence creating irregular shapes.

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EXTRUSION TO X AND Y CURVES

Here the extrusions have changed as well as the curve. Initially it was the curves were rounded. These curves are now using polyline to construct the structure.

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POLYLINE / EXTRUSION

The movement of the curves have been extended to give rise to the sections, creating a wall or an upside down waffle. These sections can act as walls of a structure for the future design.

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EXTRUSION / Z-DIRECTION / XY-DIRECTION

Here the iterations are randomized in different directions creating the most unpractical design. The have a very complex layout and hard to justify where the sections start due to the amount of points made. The final 3 were using circles to construction the section which also came out wellin producing an irregular section.

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B4.0 TECHNIQUE DEVELOPMENT SUCCESSFUL OUTCOMES

Successful outcomes will be the driving force for the prototype. Each of these iterations portrayed diferent types of layout for a structure and possibilities. The first one easily represents a tiled surface using section for support and with the occassional gaps trimmed to represent the kureon cafe. Second iteration is a wave like structure that can be used as a roof design, possibly connect with pv panels due to the extruded section surfaces. Third iteration might not be as practical as the other 2 however it has a unique shape and flow to the structure. Sections that hang towards the bottom can represent the columns however are too thin to hold the structure. The final one interesting in how it creates circular shape that inhabitats people into the area by walking over sectioned platforms.

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B5.0 TECHNIQUE: PROTOTYPE MODEL MAKING 1

Some of the pieces were difficult to manage due to its small size, however organised numbering and layering made the process easier.

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B5.0 TECHNIQUE: PROTOTYPE MODEL 1.0

Fig.27. MODEL

Models were supported not as well as I thought. Proposal of recreating a design using notches to connect the pieces together might be a better way to approach the design.

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B5.0 TECHNIQUE: PROTOTYPE MODEL 1.0

Model was made with boxboard at 2mm. To increase thickness, I had to double the layer of each section. The flow of the section became more elegant as the layer came on for each section.

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B5.1 TECHNIQUE: PROTOTYPE TESTING PERFORMANCE

Fig.28. RENDEr ON SITE

Trial on site shows people standing around the structure with children around. The structure enables people to rest away from the market. It is placed directly in the centre.

Fig.29. AERIAL RENDER

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B6.0 TECHNIQUE: PROPOSAL INTERACTIVE PAVILION Refshaleoen in Copenhagen will house the new structure. The site itself was once a shipyard and well industrialised area. It is now inhabitated by cultural aspects and flea markets. Crafting became popular in the area. The area also promoted festivals, particularly music. As a result, my proposal is to create a market within the site where people can go to day or night, depending on the event of the market. The attraction the site gets from the other events will draw more people to this event if successful. The pavilion can also be used for children to play, run and climb over spaces and platforms. Adults are able to sit and relax from the market.

Fig.30. OCCUPYING SPACE

The pavilion is ideally meant to be used for children and families that gather around the space to enjoy the view. It is to be within the centre of the market for a place to meet or rest. The market is illuminated by light from piezo electricity tiles which lights up when pressure is applied to the tiles. A generator in the tile will allow the pressure on a quartz piece to create a spark, creating electricity for the market. An example of this is the lighter which creates a spark from compressed piezoelectric element (quartz) converting the spark into electricity thus lighting a flame.

Fig.31. PIEZO ELECTRICITY

Fig.32. PIEZO ELECTRICITY LIGHTER

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B7.0 LEARNING OBJECTIVE AND OUTCOME Post presentation, I noticed Iâ&#x20AC;&#x2122;ve drifted away from the design focus. The interest came from the cafe kureon, and how it is structural connected rather than sectioned pieces stuck together. I will be refering back to the kureon cafe for reference and design for my remake of a structure. The next thing is to integrate the structure into an actual market rather than a simple pavilion. The idea of a pavilion is vague and to simple. The design needs to complex yet simple and it is how I will introduce my next prototype of a full market with similar concept to the cafe of layering and sectioning logs. The piezo electricity will be changed due to its simplicity. I will use PV panels in the next design using the sunlight to generate light for the market at night while during the day, the electricity will be stored for the night market. This new objective will allow to maintain my flow of design and consistently for a better outcome. The scale of the new design will be more apparent and accurate for people to understand the structure more clearly.

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B8.0 APPENDIX ALGORITHMIC SKETCHES FIG 22. Ceiling patter

http://www.archdaily.com/42581/banq-office-da/

FIG 23. Night time light FIG 24. CNC cut

http://icd.uni-stuttgart.de/?p=4458

FIG 25. Under construction FIG 26. Cafe Kureon

http://icd.uni-stuttgart.de/?p=4458

http://9bytz.com/cafe-kureon/

FIG 27. Model FIG 28. On site render FIG 29. Aerial render FIG 30. Occupying space

http://www.play-scapes.com/play-designcontempor

arydesignpalletpavilion-aarhus-school-of-architecture-2010/

FIG 31. Piezo electricity

http://www.rmcybernetics.com/science/high_voltage/mineral_elec.htm

FIG 32. Piezo electricity lighter

http://global.kyocera.com/fcworld/charact/elect/piezo.html

This algorithmic sketch was successful given the complexityof the magetic points. The attractor point was used to get the shape and with further process work it can potentially be a design for the site. It taught me how to use anchor points to create unique waves rather than simple square geometry.

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PART C: DETAILED DESIGN

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C1.0 DESIGN CONCEPT NEW DESIGN The trialing stage for a new design began with curves and change the heights and distances to create different designs. The grid is not a generic square and the idea of the generation of design is to create an interior open space for a market place. At the same time of expanding the distance and heights of the grid, the structure has to maintain the shape of grids and squares. The squares are crucial for the future development of the structure to use panels and windows. The idea is to create a double grid, One grid supports the other while the other side intertwines with each other to keep the structure stable. Most of these trialled structures do not have enough space inside or are broken at certain locations of the structure and therefore cannot be used for the market.

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C1.0 DESIGN CONCEPT NEW DESIGN

The final design has a consistent flow of structural pieces. The double grid works together to for the wave of the structure. Each square for the panels is maintained. The outer columns act as trees for people to walk through.

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C1.0 DESIGN CONCEPT NEW DESIGN

The realisation for a design occured late in the process. My concept will include a double grid structure that is used for the housing of a market place. The new design will be placed towards the water taxi area for convenience of entrance and close to the main streets. It will be accompanied by pv panels in several window sections with the rest filled with windows of various colours. The concept of the design is using the grid to represent a forest with the trunks as the support of the structure. The windows and pv panels are like the canopies that change the way the light travels along the space and how it changes the colour of lighting for the experience of shoppers. Its orientation will face the waterfront so that it indulges in the experience of the shoppers to walk further and get the view of the iconic mermaid statue. The structure can be entered in any direction to further represent the idea of a forest.

Fig.33. RENDEr

Ideally the structure will be made in timber a male to female connection for the bigger pieces while supported by heavy metal bolting. The notches will be fitted with angle brackets for support. Some parts of the structure will be lifted into the air giving a flow of section lines feeling. The shadow that is casted is also intriguing to the eye and experience for shoppers. The pv panels will be distributed along the canopy and will be used for night time lighting for the structure for anyone that happens to be there at that time. The energy stored from the day time will also be distributed back to the grid leaving the necessary energy for night use.

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Fig.34. RENDEr

C1.0 DESIGN CONCEPT NEW DESIGN

Fig.35. RENDEr

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C1.0 DESIGN CONCEPT NEW DESIGN

Fig.36. RENDEr

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C1.0 DESIGN CONCEPT NEW DESIGN

Fig.37. RENDEr

The parametric form of the structure is unique in the overlapping of the grids. The complex space is used in a simple manner while having the attributes of a parametric design that encompasses the natural lighting experience while being environmentally friendly to the area.

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C1.0 DESIGN CONCEPT NEW DESIGN

Fig.38. RENDEr with glass panels

Experimentation of colour in the panels to see what works. The colours are messy and should be harmonious in a way to create a dynamic flow and serenity.

Fig.39. RENDEr with glass panels 66

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C1.1 DESIGN CONCEPT THE SITE

Fig.40. site for construction

Fig.41. MERMAId view

Copanhagen is ever growing in natural form accumalating energy through renewable resources. The site location is iconic as it was a former shipyard and factory area. However now it is a place where craft activities and music festivals occur. With such activities already available in the area, a market place is ideal for the area in a way that it attracts more people with more activities to look foreard to. The orientation of the designed structure is crucial for the experience of a patron so that they relish their time in the structure as the are able to view the mermaid from afar or travel to the other side via water taxi.

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C1.2 DESIGN CONCEPT GRASSHOPPER DEFINITION

The grasshopper definition creates the parametric shape and grid of the structure. This is one of definitions multiplied by 2. The grid structure began with 6 curves that create the overal flow of the sections. Sections are lofted to create the thickness for the sections. The offset determines the distance of each section. Final the extrusion with the additions of unit x and unit 7 determines the height.

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C1.3 DESIGN CONCEPT POSSIBLE CONSTRUCTION

Fig.42. deconstruction of structure

The construction will ideally be connected by notches that interlock.The longer and bigger support columns of the structure will be constructed with male to female connected to strengthen its durability when

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C1.3 DESIGN CONCEPT POSSIBLE CONSTRUCTION

Fig.43. full structure vector

The final design has a flow on the roof. Each square created from the grids leaves an open space for windows and pv panels. Where the two squares overlay each other will have different colour windows to create a different coloured shine into the structure.

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C2.0 DESIGN CONCEPT MATERIAL COLOURED GLASS PANELS Using the stained glass effect to create the light that shines from the roof with natural light. While having the quality of UV resistant digital ink for durability, the glass will also benefit from the experience of walking through the structure.

Fig.44. coloured glass panels

TIMBER Timber can carry up to 7 stories high and is also sustainable. It also make the structure carbon free and also being lightweight for construction purposes. The timber material will be used all over the structure from columns to beams while being supported with steel bolts and brackets.

Fig.45. timber

PV PANELS Use of pv panels is sustainable for creating night light for the area. The pv panels will be retrofitted for the square surfaces of the roof to ensure that they fit. The pv panels will serve as consumption of energy for the use of night lights with any left over to be sent to the power grid.

Fig.46. pv panels

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C2.0 DESIGN CONCEPT MATERIAL

g.47. steel brackets

Fig.48. recycled bottle lights

STEEL BRACKETS

LIGHTING

Brackets will ensure the notches will be intact. It will minimize the shear force that can occur on the structure to ensure safety and stability for it stand.

Due to the activity in the area, the lighting would be ideal if it was to consist something involving crafting. Using recycled bottles with colour can also create the same effect during day to but a cylindrical lighting of colour. The light will be ambient and less bright which sets the mood for a night time experience.

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C2.1 TECTONIC ELEMENTS/PROTOTYPES CORE CONSTRUCTION ELEMENT The construction that will occur is a portion of the structure that involves interlocking of notches for the double grid. This will demonstrate the connection method at best quality. It will be constructed out of 1.8mm boxboard with several cut nails that will represent bolting. The structure will be scaled 1:50.

Fig.49. deconstruct of model

Fig.50. construction model

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C2.2 TECTONIC ELEMENTS/PROTOTYPES PROTOTYPE CONSTRUCTION

STAGE ONE The pieces are cut with 3 layers to make the structure thicker. (1 piece 1.8mm with 3 layers = 5.4mm thickness for each piece). The materials used were super glue, double sided tape and scissors to ensure structure fits together.

Fig.51. model making stage one

STAGE TWO The interlocking of male to female connection is complete with glue and nail bolts. The interlock ensures the stability of the structure so that it wonâ&#x20AC;&#x2122;t collapse.

Fig.52. model makng stage two

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C2.2 TECTONIC ELEMENTS/PROTOTYPES PROTOTYPE CONSTRUCTION

STAGE THREE The second column is completed with the same method as interlocking and connections from the first column in stage two.

STAGE FOUR

Fig.53. model making stage three

The beams are being installed into the notches with glue.

Fig.54. model making stage four

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C2.2 TECTONIC ELEMENTS/PROTOTYPES PROTOTYPE CONSTRUCTION

STAGE FIVE The construction had to be in different orders with consideration for overlapping pieces. This will ensure the pieces fit fully together.

Fig.55. model making stage five

STAGE SIX There were minor complications where some notches werenâ&#x20AC;&#x2122;t cut to exact size however the glue used was strong enough to hold it in place regardless of the

Fig.56. model making stage six

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C2.2 TECTONIC ELEMENTS/PROTOTYPES PROTOTYPE CONSTRUCTION

STAGE SEVEN The structure is complete. From here the structure is required to stand so the use of foamboard will create the surface for the structure.

RESULT

Fig.57. model making stage seven

The result shows the structure is well supported by the foam. It stands at 1:50 scale which is sufficient for people to walk in and craft stalls to be open for use. The overhangs are supported by the opposite columns where the beams connect from one section to the other.

Fig.58. final result

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C2.2 TECTONIC ELEMENTS/PROTOTYPES PROTOTYPE CONSTRUCTION

Fig.59. bolting

Fig.60. bolting

The nails were cut to fit into the small structure, representing a real bolt that would be used for the full scale model. It is used to lock the connection from the inside.

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C2.2 TECTONIC ELEMENTS/PROTOTYPES PROTOTYPE CONSTRUCTION

Fig.61. shadow cast

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C2.2 TECTONIC ELEMENTS/PROTOTYPES PROTOTYPE CONSTRUCTION

Fig.62. final result

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C3.0 FINAL DETAIL MODEL 3D RENDERINGS

Putting the structure on the site shows its location in context of the site and how people can see that it resembles a forest of trees with canopies.

Fig.63. site implementation

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C3.0 FINAL DETAIL MODEL 3D RENDERINGS

The view from across the water shows its scale and shadows can occur over the structure.

Fig.64 site implementation

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C3.0 FINAL DETAIL MODEL 3D RENDERINGS

This interior view shows the panels on the roof casting shadow over the surface of the interior. Some layers of glass will have been overlapped by another glass from the taller grid.

Fig.65. interior lighting

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C3.0 FINAL DETAIL MODEL 3D RENDERINGS

Rendering of people in the site with the square blocks representing market stalls. Shadow cast during the day is heavy due to the height of each beam.

Fig.66. interior stall and people

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C3.0 FINAL DETAIL MODEL 3D RENDERINGS

Fig.67. final render

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C3.0 FINAL DETAIL MODEL 3D RENDERINGS

Fig.68. Aerial render

The additions of the white structures act as parasites for the site and forms a grid to support growing trees and plants that compliment the idea of a forest structure.

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C3.0 FINAL DETAIL MODEL 3D RENDERINGS

Fig.69. final render

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C3.1 FINAL DETAIL MODEL MODEL PREPARATION

Fig.70. 3D PRINTING PREPARATION

3D preparation required the process of meshing the structure. I reduced the structure to 3D print a portion of the entire structure. The process required temporary piping to ensure the structure will not collapse while it is in the process of printing. The entire structure itself is complex and fragile.

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C3.2 FINAL DETAIL MODEL PRESENTATION MODEL

Fig.71. 3D model

Fig.72. 3d model aerial view

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C3.2 FINAL DETAIL MODEL PRESENTATION MODEL

Fig.73. 3d model grid view

Fig.74. 3d model

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C3.2 FINAL DETAIL MODEL PRESENTATION MODEL

Fig.75. 3D model

Fig.76. 3D model perspective

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C3.2 FINAL DETAIL MODEL PRESENTATION MODEL

Fig.77. 3D model

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C4.0 LEARNING OBJECTIVE & OUTCOMES

My presentation for the studio displayed my final structure and final design. A 3d model was also shown to demonstrate the form of the structure. In terms of design and connection to the site and concept, overall it was a success from what was made in Part B. The new development was a huge improvement in this presentation that showed my progress into the studio. Although it was a late design, it was effective. Things that I was told to continue with is to construct a tectonic model regarding the construction and joints of the model or structure would actually stand up and hold together. More development of renders for different views should be implemented in to the journal. Parametric design is a unique form of designing involving the use algorithms. It is a unique addition to architectural designs and offers a vast range of potentials for a structure. Overall, this studio taught me to design with the non conventional typical box way and I can take the knowledge further to design in the future. The understanding of reading in part A allowed me to take in knowledge about parametrics to a new level. Prior to the studio I had no experience of grasshopper or parametrics. Part B allowed me to explore different ways to design and create the unique designs. Although there were set backs throughout the studio, I learnt what I had to do to improve by the time part C came. Fabrication was critical and difficult at times however working with rhino and grasshopper, the issues were dealt with well. Making fabrication models and designing with parametrics will be something I will take to the future with my career and design. I will still need to touch up my knowledge of grasshopper however I have overcome the basics of the program and learnt to apply it to my own architectural designs.

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C5.0 APPENDIX FIG 33. render FIG 34. render FIG 35. render FIG 36. render FIG 37. render FIG 38. render FIG 39. render FIG 40. Copenhagen Refshaleoen FIG 41. mermaid FIG 42. deconstruction of structure FIG 43. full structure vector FIG 44. glass window FIG 45. timber

http://www.purlfrost.com/stained-glass-2/#.VE8Z6_mSxgk

http://www.thewire.org.au/storyDetail.aspx?ID=8812

FIG 46. pv panels

http://en.wikipedia.org/wiki/Photovoltaic_system

FIG 47. timber joints FIG 48. lighting

http://www.portlandbolt.com/industriesserved/timber_glulam.html

http://cdnpix.com/show/201676889532695053_4iQoo4vY_c.jpg

FIG 49. deconstruction of model FIG 50. construction model FIG 51. model making stage one FIG 52. model making stage two FIG 53. model making stage three FIG 54. model making stage four FIG 55. model making stage five FIG 56. model making stage six FIG 57. model making stage seven 94

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C5.0 APPENDIX FIG 58. final result FIG 59. bolting FIG 60. bolting FIG 61. shadow cast FIG 62. final result FIG 63. site implementation FIG 64. site implementation FIG 65. interior lighting FIG 66. interior stall and people FIG 67. final render FIG 68. final render FIG 69. 3D printing preparation FIG 70. 3D printing preparation FIG 71. 3D model FIG 72. 3D model aerial view FIG 73. 3D model grid view FIG 74. 3D model FIG 75. 3D model FIG 76. 3D model perspective FIG 77. 3D model

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