ARCHITECTURAL DESIGN
STUDIO AIR JOURNAL
ong simnan | 731491 | semester 1 /2015 TUTOR: SONYA
Contents INTRODUCTION
about me past experiences
PART A
A.1 a.2 A.3 A.4 A.5 A.6
Design futuring Design Computation Composition/Generation Conclusion Learning Outcomes Appendix
4 5 6-9 10-11 12-13 14 15 16-17
ABOUT ME My name is Ong Sim Nan. I am 22 years old this year. I was born and raised in Malaysia of Chinese descent. I am currently embarking on my third year studying at University of Melbourne. I am studying in Bachelor of Environment and majoring in Architecture. Yet this is my first semester to study in the university because I entered as an exchange student with my Year 1 & Year 2 done in Malaysia. I am interested in the field of arts since I was at very young age. I spend most of my free time on exposing arts and crafts since young. Besides, traveling has also been giving me so much pleasure in my life. I meet the experience of new cultures, different history, scenery, food which I think is really would let me discover who I am in a way that only the road brings. Also, there are always some touristic spots even I don’t want to miss in every town especially historical buildings or iconic building. Thus, I think my love for arts and traveling has bring me to a world of Architecture.
The pictures were taken at Wat Arun Temple, Bangkok on September, 2014.
PAST EXPERIENCES
Perspective views of my previous projects done in Year 2. Project: Proposed Hybrid Club House in Danga Bay, Johor.
Throughout my two and a half year studying Architecture in Malaysia, I have learnt a range of architectural tools. I used 3D Max for first year of my study while I have learnt a lot about SketchUp in my second year. Other than that, AutoCAD, Adobe Suits like Illustrator and Photoshop have assisted me to produce my projects too. Thing that makes me excited is that I am introduced to new digital modeling program in this semester which is ‘rhino’ modeling which I was just started to get familiar with. I look forward the challenge of mastering the skills of digital design when exploring ‘rhino’. I believe that it would be an essential tool for me to learn as I could create structure or design which would barely to draw using hand-sketching.
Perspective views of my previous projects done in Year 2. Project: Proposed Hybrid Club House in Danga Bay, Johor.
PART A
a.1
DESIGN FUTURING
Clearly defining what we meant by design was a good way to begin. What is design? Design is not just specifying. Far from it, it’s creating. What makes it distinct from art, science, or engineering? From the reading of Design Futuring by Tony Fry, design has to be understood anthropologically. It names our ability to prefigure what we create before the act of creation at the same time define fundamental characteristic that makes us human. The book says, “nature alone cannot sustain us, we are too many, we done ecological damage and we have become too dependent upon the artificial worlds that we destroyed.’’1 Hence, an ethical practice, like changing thinking must be acknowledged by us because we could possibly secure a future by design.
In order to have a future, we have to understand the importance of sustainable design and its effects towards mother earth. “Without sustainability, neither, we nor have a future.” Design Futuring argues that ethical, political, social and ecological concerns now require a new type of practice. Theatrical robots. 3D printers that churn out cells. While these technologies are paving new paths for design practices, it is possible for us to increase the variation of the creation of design. Besides, to visible the pace to reach sustainable architecture, there are various of applications and materials are significant to be realized by the designer. “forgot design as a territory and practice that can be laid claim to, stop talking to yourselves, give up on repackagin design within, start talking to people, other disciplines, broaden your gaze, engage complexity of design as a world-shaping force.”1 In conclusion, architects and designers need to not only design for themselves, but for the future, people and our mother earth.
1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16
A1.1 precedent case
the 18 ‘super tree’ Location: Garden By the Bay, Singpore Function: An eco-tourist destination showcasing sustainable practices and plants from across the globe Structure: steel framework Floor Area: A250-acre landscaping project Designing Period: Completion on 29 June 2012 Living in a time when the mother earth is suffering from uncountable environmental issues, I believe encouraging the application of green building practices could make a lot of difference. Buildings that built with eco friendly techniques would have lesser environmental impact compare to a normal one. Selecting green materials has always been holding the majority part of it reason being it could lead to infinity of long term energy saving of a living space1.
18 ‘super trees’ just like an iconic garden in Singapore, they even have canopies from one ‘tree’ to another.
The 18 ‘super tree’ at Gardens by the Bay is the largest garden located at the heart of Singapore.2 I personally got the chance to visit the Graden myself and I was totally impressed by the how eco-friendly it is. The man-made mechanical forest which consists of 18 ‘super trees’ that act as vertical gardens. Like trees, they provide shades. The Supertrees are embedded with sustainable energy and water technologies integral to the cooling of the Conservatory.3 Wtith the contemporary approach and interesting design of ‘supertrees’ which looks like a real giant trees, it has directly appealed to the world that we do need more green
Nighttime view of 18 ‘super trees’.
Cloud Forest (Conservatories) is a manmade mountain inside a climate-controlled dome at ‘Garden By The Bay’, Singapore.
Daytime view of 18 ‘super trees’.
The 18 ‘super trees’ are made of four main part which are trunk, planting panels, reinforcement concrete core, and canopy that made it a parametric design.
Gardens by the Bay was a remarkable blend of nature, technology, environmental management and imagination, highlights of Bay South include 18 Supertrees (2550 metre) and two giant Cooled Conservatories. The cool dry conservatory was more challenging due to its asymmetry.3 An artificial mountain was envisaged in order to achieve the effect of highland experience. The envelope was then formed tall and vertical meaning the grid shell arch combination worked particularly well. The final form combined two different structural systems which are grids hell and radiating arches. The design incorporates a complex configuration of contraction/expansion between the variation in the arches and rotation in two axis adjustment details, enabling access to most of the glass roof area and keeping the cradles vertical at all times. The garden is acting as virtual sign especially for those people who have visited it or see it when they are travelling pass. It is reflected the architecture is not only about a form but also something that used to change human’s perception. While acting as a virtual sign to redirect people’s attitude is perceived as a long term response to the environment.
1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 2. ‘Solar-powered ‘supertrees’ breathe life into Singapore’s urban oasis’, Lauren Said-Moorhouse, for CNN, last modified June 8, 2012, http://edition.cnn.com/2012/06/08/world/asia/singapore-supertreesgardens-bay/ 3. ‘GARDENS BY THE BAY, SINGAPORE’, unknown resource, http://www.istructe.org/getmedia/e8f33300-c603-4675-9c7f-fc5e07a54b6d/Exemplar-Submission-2.pdf.aspx
A1.2 precedent case
Organic London Skyscraper Location: London, UK Function: To incorporate waste produced by its occupants Structure: Prefabricated tube framing Floor Area: Designing Period: The new, London-based conceptual project, “Organic Skyscraper,” proposes a high-rise building built from the recycled materials of its residents. The building would essentially “grow” vertically as inhabitants discarded waste like plastic bottles and paper, their garbage turning into insulated panels for floors to come.4
Programmatic Section.
Inspired by the use of bamboo scaffolding in parts of Asia, the building materials would be manufactured on-site, with a reconditioning plant installed in the top of the building as the construction area lurches up, and recuperation containers on the bottom floor to collect the paper and plastic used in the office building. There’d be no need for tower-cranes, amounting to an entirely new vision of what urban construction might look like.
Like all skyscrapers, this project will require scaffolding, but in this case the scaffolding will become part of the aesthetic.4 Prefabricated tube framing will be attached to the exterior, and will rise with the building, allowing for components to be added to the building over time. This framework will also support generators supplying power to parts of the building. The tubing of the scaffolding will be hollow to minimize wind load and will be of a single size so that workers need not spend time cutting the scaffolding to size.5
4. ‘This Organic Skyscraper’, Katherine Brooks, last modified July 17, 2014, http://www.huffingtonpost.com/2014/07/17/organic-skyscraper_n_5592690.html 5. ‘Concept skyscraper rises from recycled waste of residents’, Stu Robarts, July 8, 2014, http://www.gizmag.com/chartier-corbasson-organic-skyscraper-london/32868/
a.2
DESIGN COMPUTATION A2.1 precedent case
FAB CONDENSER Location: Glorias Square in Barcelona Function: Pursue to render the surrounding thermodynamic and climate processes. Structure: Wood and fabrics Floor Area: 200sqm Designing Period: Completion on 29 June 2012 Architecture and the design process is an evolutionary process, with many changes occur or the time of mankind, such as the new found prominence of computational design. Computation allows the possibility of working with geometric complexity and variability3. At the same time, the mathematical logic that organizes such variability allows, with digital fabrication tools, to share prefabrication strategies and pick up the pace of communication processes (machine design) and production and construction processes. “Such a symbiosis is predicated on communication, the ability to share information between computers and humans”3 Symbiotic design process allows a positive interaction and can generate better designs and a more organized process of designing and finalizing ideas.3
The algorithm of the pavilion was designed in only 2 months, prefabricated in 5 days and assembled in 4 days.2 Digital fabrication has the ability to bridge the gap between raw material, post-production, designer and end user. Yet, the components of the pavilion are all different but share the same formal, constructive and material. The current rapid shift to computerization as well as computational design, which involved the process of problem solving as well as a discussion with the problem allows the lab explores connections between parametric design and passive climate strategies. New techniques to maximize design potential and time reduction can be motivated by the great analytical of computers3, can seen currently, the design aspects that computer programs can achieve with the cooperation of the designer.
Bioclimate dome at Glorias Square in Barcelona.
The pavilion is thus made out of 20 triangular components, each fabricated with CNC machines and then folded together into a textile igloo.2
The pavilion could be used as a room for gathering, celebration, exhibition, performance, workshops, fabrication, partying or anything else the community would like to.
Environmental parametric process.
1. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 2. ‘THE ENDESA WORLD FAB CONDENSER’, Peter Smisek, last modified September 26, 2014, http://www.frameweb.com/news/endesa-world-fab-condenser-by-margen-lab 3. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 pdf
A2.2 precedent case
the Burnham Plan Pavilions Location: Chicago Function: To invites people to gather, walk around and through and to explore and observe; Shelter. Structure: Aluminum framework Floor Area: 120m2 Designing Period: 2009 This pavilions emphasize bettering the future, which echo the ideals of the 1909 Burnham Plan to maintain the Millenium Park’s tradition of displaying dynamic public art. The computational design process allows the creation of the design environment by the designer’s domain, allowing parameters that can control the result, and allow the change to be done efficiently.5 By incorporating random generators to establish a change in the sculpture, and using technology to narrow the premises for the design, therefore allowing a more focused and concise process to occur.3 The pavilion is made of aluminum to form the parametric design, while the steels were donated by an industries. The pavilion is attractive by daylight, but the use of sunlight limits the multimedia duality to sunset.4
Parametric design and construction technology have enhanced the organic and unique structure of the pavilion. Hadid’s pavilion is a tensioned fabric shell fitted over a curving aluminum and with contain beyond 7,000 pieces of framework. Although the frame is composed of 7,000 individually bent pieces, every single of each is different from another. The shell is made up of merely 24 custom-made panels of fabric. The development of the software by the digital technology group allow specific form making for such sculpture and deliver clearer results, such as the using steel to give a more exciting form, also using computational ideas to facilitate different openings and features.3
This pavilion resembles a conch shell with openings like shark’s mouths. “Fabric is both a traditional and a high-tech material whose form is directly related to the forces applied to it – creating beautiful geometries that are never arbitrary. I find this very exciting.”5 - Zaha Hadid
It is about reinvention and improvement on an urban scale and about welcoming the future with innovative ideas and technologies. The design continues Chicago’s renowned tradition of cutting edge architecture and engineering, at the scale of a temporary pavilion, whilst referencing the organizational systems of Burnham’s Plan. Hadid then overlay fabric using contemporary 21st Century techniques to generate the fluid, organic form. It has combination of naturalistic forms and alien shapes.– while the structure is always articulated through the tensioned fabric as a reminder of Burnham’s original ideas.
4. ‘The Burnham Pavilions in Millennium Park’, Patrick T. Reardon, last modified June 16, 2009, http://burnhamplan100.lib.uchicago.edu/node/1294/ 5. ‘Burnham Pavilion / Zaha Hadid’, last modified 24 Aug 2009, http://www.archdaily.com/33110/burnham-pavilion-zaha-hadid/
a.3
DESIGN COMPOSITION A3.1 precedent case
Shenzhen International Airport Location: Shenzhen, Guangdong, China Function: Airport Structure: Concrete, Steel Floor Area: 500,000 sqm Designing Period: 2013 Now, designers are equipped with a tool that increased the capability to solve complex problems and to explore innovations that can sustain the future through design. Also, computation provides designers to be inspired and go beyond the ‘intellect of the designers’ by the unexpected results. The tubular shape of the airport shows the idea of motion. The “cross” is the intersection point where the 3 levels of the concourse are vertically connected to create full-height voids which allow natural light to filter from the highest level down to the waiting room.2 Sculpture shaped objects which is big stylised white trees have been designed for air conditioning all along the terminal and the concourse, replicating the planning of amorphous forms that inspired by nature.
The interiors designe in the internet-point, check-in, security-check, gates and passport-check areas have a sober profile and a stainless steel finish that reflects and multiplies the honeycomb motif of the internal “skin”.2 With computation, structural, material, environmental performance can become a fundamental parameter in creating architectural form. 1 This provide a chance for architects to analyze on how the design could achieve structural, material, and sustainable way. The efficient and well-integrated structure has developed the free-flow building envolope.
The honeycomb motif is transferred and replicated on the interior design.
1. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 pdf 2. ‘New Terminal 3 for Shenzhen Bao’an Airport: a 1250m long structure’, lKnippers Helbig Advanced Engineering, Stuttgart, New York, http://www.knippershelbig.com/sites/default/files/pdf/new_terminal_3_ shenzhen_boa_an_airport_th_fk1.pdf
A2.2 precedent case
Dongdaemun Design Plaza Location: Seoul, South Korea Function: Multi-purpose design center Structure: Metal cladding panels and concrete framework Floor Area: 89574.0 sqm Designing Period: 2014 DDP is the first public project in Korea to utilize the 3-Dimensional Building Information Modelling (BIM) and other digital tools in construction.3 Throughout the design process, every building requirement was considered as a set of inter-related spatial relationships which will define the social interactions and behavioral structure in/around the project. Hence, computation does not only work as a tool to design and experiment forms, it could model and stimulate the relationship between architecture and the public use in a more accurate method. The technologies helped to maintain the original design aspiration throughout the project’s construction. With parametric building information modeling software and design computation, we were able to continually test and adapt the design to the ever-evolving client’s brief as well as integrate engineering and construction requirements. The parametric modeling process not only improved the efficiency of workflow, but also helped to make the most informed design decisions within a very compressed project period; ensuring DDP’s success throughout life-span.3 In construction, the benefits of using the parametric modeling techniques are apparent. The digital design model could be refined at any time throughout the design and construction to accommodate additional onsite conditions, local regulations, engineering requirements and cost controls. Understanding of algorithmic is significant in order to explore new innovations and think of further explorations that are possible.3
Construction the exterior envelope of DDP was a challenge as the cladding system consists of over 45,000 panels in various sizes and degrees of curvature. This was made possible by the use of parametric modeling with an advanced metal-forming and fabrication process to develop a mass-customization system. Parametric modeling enabled the cladding system to be designed and engineered with much greater cost and quality control.3 The efficiency of computation has clearly been shown in this precedent. The shift of architecture literature and practice from composition to generation establish a new generation with a different kind of design process take part in sustaining the future. 3. ‘Zaha Hadid’s Dongdaemun Design Plaza opens in Seoul’, Amy Frearson, last modified March 23rd, 2014, http://www.dezeen.com/2014/03/23/zaha-hadid-dongdaemun-design-plaza-seoul/
a.4
conclusion intended design approach
Architecture is not only about designing and constructing a building for the clients, to design for the future, sustainability will be more of an issue. Design futuring is the consideration to make in order for us to sustain our future. It is our responsibility as designers to create the greater public. As precedents have been analyzed in the previous pages, we could see the challenge designers and engineers have put in, in order to take a part in sustaining our future. The role of computers and its programs is an important one, a new innovation in architecture in recent history that can allow ‘unworkable’ ideas and concept to be constructed, something that older practices would not allow us to do, especially with the possibilities of 3D Modeling over orthogonal views. My design approach will be more open to ideas and forms which would contain sustainable criteria that might have been incapable to comprehend earlier, incorporating new skills in programs such as Grasshopper to fulfill a concept’s potential. Through computational design, there are a range of benefits which help designers, users and the environment. Multi-disciplinary projects can occur with optimized time frames and extensive possibilities for a group of innovative design solutions.
a.5
learning outcomes my learning experiences
Before attending Studio Air, I have never heard of the word of parametric. All I ever know is about sustainability, which by architecture is it possible to help sustain the future. Also, I did not know that software could help sustaining our future by material innovation, structural elements and create forms that could minimize waste by fabrication. The precedents shown me how parametric design could bring efficiency and flexibility in the design process and bring opportunities for innovation and expand future possibilities of designing. I feel like I have gained a significant understanding of the principles behind computational design and its difference with computerization. Learning and practicing Grasshopper was never easy for me, it is something very new to me but this is a new approach. During the practice I had no idea what outcome there would be like. Yet, after learning theory of computing, I knew that it is a tool that I can use for my future career, as I could improve my past designs, and I could use is to sustain the future by designing. This Studio has totally opened up my eyes and understanding of designing of the future. I wish that I could polish my basic Grasshopper skills in the upcoming weeks and be able to innovate designs that would sustain the future.
a.6
Appendix
Algorithmic Sketches When exploring Rhinoceros and Grasshopper, I found the possible of line intersection very interesting. Exploring alternative outcomes with different lines and points like creating curve however it was not very successful. I found my limited knowledge in the exploration as I had ideas to add to the design yet did not have the knowledge to execute them. The first week of algorithmic sketches explored basic functions of parametric modeling. We were expected to produce a sea sponge model. It was my first attempt on Grasshopper, I got the form by lofting several circle on different axis. This involved developing an understanding of how altering the parameters alters the relationship between elements of the design.
Few of my attemps when exploring parametrical form.
The first week task of the semester is to immitate the shape of any seasponges.
I use component ‘Random’ to create the uneven surface of the sea sponge and repeat them.
references list 1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 2. ‘Solar-powered ‘supertrees’ breathe life into Singapore’s urban oasis’, Lauren SaidMoorhouse, for CNN, last modified June 8, 2012, http://edition.cnn.com/2012/06/08/ world/asia/singapore-supertrees-gardens-bay/ 3. ‘GARDENS BY THE BAY, SINGAPORE’, unknown resource, http://www.istructe.org/ getmedia/e8f33300-c603-4675-9c7f-fc5e07a54b6d/Exemplar-Submission-2.pdf.aspx 4. ‘This Organic Skyscraper’, Katherine Brooks, last modified July 17, 2014, http://www. huffingtonpost.com/2014/07/17/organic-skyscraper_n_5592690.html 5. ‘Concept skyscraper rises from recycled waste of residents’, Stu Robarts, July 8, 2014, http://www.gizmag.com/chartier-corbasson-organic-skyscraper-london/32868/ 6. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 7. ‘THE ENDESA WORLD FAB CONDENSER’, Peter Smisek, last modified September 26, 2014, http://www.frameweb.com/news/endesa-world-fab-condenser-by-margen-lab 8. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 pdf 9. ‘The Burnham Pavilions in Millennium Park’, Patrick T. Reardon, last modified June 16, 2009, http://burnhamplan100.lib.uchicago.edu/node/1294/ 10. ‘Burnham Pavilion / Zaha Hadid’, last modified 24 Aug 2009, http://www.archdaily. com/33110/burnham-pavilion-zaha-hadid/ 11. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 pdf 12. ‘New Terminal 3 for Shenzhen Bao’an Airport: a 1250m long structure’, lKnippers Helbig Advanced Engineering, Stuttgart, New York, http://www.knippershelbig.com/sites/ default/files/pdf/new_terminal_3_shenzhen_boa_an_airport_th_fk1.pdf 13. ‘Zaha Hadid’s Dongdaemun Design Plaza opens in Seoul’, Amy Frearson, last modified March 23rd, 2014, http://www.dezeen.com/2014/03/23/zaha-hadid-dongdaemundesign-plaza-seoul/ 14. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 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
ARCHITECTURAL DESIGN
STUDIO AIR JOURNAL
PART B
criteria design
ong simnan | 731491 | semester 1 /2015 TUTOR: SONYA
PART B
Criteria Design B1 B2 B3 B4 B5 B6 B7 B8 B9
Research Field Case Study 1.0 Case Study 2.0 Technique: Development Technique: Prototype Proposal Learning Objectives & Outcomes Appendix- Algorithmic Sketches References
B.1
research field
material system- biomimicry
Biomimicry is literally from the Greek ‘bios’ that meaning life, and ‘mimesis’ means imitation.1 It is a new principle that offers designs, science, and industry a new way of accessing nature’s time-tested patterns and strategies in order to solve human challenges by taking imitation from the nature.1
Moreover, biomimetic architecture design is seeking solutions for sustainability in nature. It does not only replicate the natural forms, but also understand the rules governing the forms by looking at the nature as model.1 The design solutions will optimize by the inspiration from nature forms, process, systems and strategies.
Biomimicry provide a wide range of source of inspiration as well as unleashing a new breeding ground for sustainable research and development, this process has demonstrated successful solutions to many of the problems that we are facing today. Thus, biomimicry provides opportunities that could transfer natural theories to design innovations which at the same time lead to more advanced technology for solutions.
With the fast-paced development of technology nowadays, the practicalability of generating biomimetic architecture has been risen. The computer technology facilitates the design and construction of complex forms that were almost unachievable in the past. Integration of biologically inspired process in computational design creates opportunities of new ways of designing approach by developing natural process as an algorithmic process. There are wide variety of biomimetic projects are in development or in use now, included students like us are also getting approach to it.
1. ‘biomimicry’, last modified 2010, http://www.designboom.com/contemporary/biomimicry.html
Airspace Tokyo Location: Ota-ku, Tokyo, Japan Function: Multi-family dwelling unit Floor Area: 35.66 sqm Designing Period: July, 2007
Airspace Tokyo is a representative example of biomimetic architecture which shows how nature helps designer to solve the problem. The idea of having facade which look like trees’ foliage came from the abundant surrounding vegetation of the previous building. Since the entire site is to be razed to accommodate construction for the new larger development, the design invents an architectural system that performs with similar characteristic to the demolished green strip.3
The facade not only take the inspirations from the nature for aesthetic purpose, it has significant function to the building too. This ‘artificial vegetation’ could perform similarly to the previous facade, providing shading and reflection of excess light away from the building.1 It is made up of four layers of metallic surface of porous. Functionally, it also works as a screen to provide a sense of privacy to the occupants. The densities could change by the open-celled meshwork as it moves across the facade.1 The Voronoi pattern of the unique facade of Airspace Tokyo is generated in collaboration with Proces2 Design in San Francisco using parametric software.2
The panels that made from composite metal panel material are attached by a matrix of think stainless steel rods which threaded from top to bottom in order to ensure that the cellular mesh visually float.3 Hence, the supporting structure is appropriately being hidden. In short, biomimicy provides opportunities for many designer to innovate creative structure with similar qualities as the previous site rather than defeating the nature. It is very encouraging to see more and more of these schemes actually being built. Tokyo Airspace is an example shows how nature inspired designer and affects the designs of the building, it has directly create an artificial linkage of nature and architecture.
1. ‘Airspace Tokyo | Faulders Studio’, last modified June 27, 2012, http://www.arch2o.com/airspace-tokyo-faulders-studio/ 2. ‘Artificially blended with nature’, last modified 11 Jun 2007, http://www.worldarchitecturenews.com/project/2007/1142/thom-faulders-beige-architecture-and-design/airspace-tokyo-in-kitamagome-ota-kudistrict-tokyo.html 3. ‘Airspace Tokyo by Faulder Studio’, last modified March 15, 2010, http://travelwithfrankgehry.blogspot.com.au/2010/03/airspace-tokyo-by-faulders-studio.html
Canopy by United Visual Artists Location: Toronto, Canada Function: Canopy Area: 90 metres x 3 metres Designing Period: 2010
United Visual Artists (UVA) created a permanent installation for Maple Leaf Square in Toronto, Canada. Given a pedestrian sidewalk as the site for the work, they wanted to create a work that people could connect to, immerse themselves within, and almost escape momentarily from the hard environment of the city. This permanent architectural installation is one of the example of a project that explores the influence of nature. It is made of thousands of identical modules, organized in a non-repeating growth pattern.1 Their form, abstracted from the geometry of leaves, reflect nature.2 Furthermore, in the daytime, light is allowed to shine through the modules illuminating the street below, while at night, LED lighting shines from each cell in flowing patterns that resemble a light breeze shaking the leaves of the forest.3 It is similar to walking through a forest with the sun coming through the trees. Canopy is a meditation on the essential unity between what we think of as ‘artificial’ and ‘natural’ processes. The particles thrive or perish according to the whims of larger, cloudlike regions of energy that sweep across the canopy. This project expresses the capacity of natureinspired thinking to generate parametrically designed form, at the same with the case of biomimicry as our approach.
1. ‘Maple Leaf Square Canopy / United Visual Artists’, Saieh, Nico, last modified Oct 15, 2010, http://www.archdaily.com/81576/maple-leaf-square-canopy-united-visual-artists/ 2. ‘Canopy’, last modified 2010, http://uva.co.uk/work/canopy 3. ‘Canopy Brings a Forest to the City’, By Paul Caridad, last modified December 16, 2010, http://www.visualnews.com/2010/12/canopy-forest-sculpture/#SozkWh2kKdoy1Qp0.99
B.2
case study 1.0 THE MORNING LINE ISTANBUL
The Morning Line Istanbul
The exhibition is entitled Youniverse and is dedicated to the convergence of art, science and technology. The Morning Line is the corner stone of this biennial, its elegantly provocative 8 meter high and 20 meter long frame, built of 17 tons of coated aluminum is an intersection for information from various fields, such as art, music, architecture, engineering, mathematics, physics, cosmology and technology.4 Aranda/Lasch divides its projects up into a series of phenomena observed in nature like spiralling, packing, weaving, blending, cracking and flocking.3 Each one is studied, turned into an algorithm or a simple principle and presented as an offering. It is like a lesson in how things might be done differently. Parametric designs by definition have no limit in design regardless of the size, shape or structure. Hence, the outcome of design can be achieved by the simple sliding of a number slider in Grasshopper.
The Morning Line is a portion of a larger structure which made through the application of fractal geometry.1 It is a fractal cycle, a model of the universe that scales up and down while also producing cycles or generations of information. This synthetic process is accomplished largely through drawing, where form and content, geometry and expression can become one.2 The Morning Line is a drawing in space, where each line connects to other lines to form a network of intertwining figures and narratives with no single beginning or end, entrance or exit, only movements around multiple centers that together trace out a dense web of ideas concerning the history and structure of the universe and our place in it.3 The Morning Line reflects biomimicry designs in the geometric shapes of its facade. The pavilion will look different with different angle of view when visitors move across it.
1. ‘AD INNOVATOR: ARANDA\LASCH’, Fred A. Bernstein, last modified Jan 2, 2014, http://www.architecturaldigest.com/architecture/innovators/2014/aranda-lasch-ad-innovators-2014-article 2. ‘the morning line by matthew ritchie with aranda\lasch and arup’, leeji choi, last modified April 5,2009, http://www.designboom.com/art/the-morning-line-by-matthew-ritchie-with-aranda-lasch-and-arup/ 3. ‘Aranda/ Lasch: Cracking architecture’s code’, By Justin McGuirk, last modified February, 2008, http://www.iconeye.com/component/k2/item/3106-aranda/-lasch-cracking-architecture%E2%80%99s-code 4. ‘Matthew Ritchie with Aranda\Lasch and Arup AGU – The Morning Line’, CAAC, Seville, last modified 2008, http://www.tba21.org/augarten_activities/49/page_2
Biomimicry Matrixes I. Voltadom Voltadom variation
II. Aranda Lasch - The Morning Line Tetrohedrons variation
Number of Tetrohedrons at angles
Variation in the number of sides and tetrohedrons
Pyramid approach: changing the number of segments
Changing the number of segments
Experimenting using the previous geometries
II. Aranda Lasch - The Morning Line Tetrohedrons variation
Number of Tetrohedrons at angles
Variation in the number of sides and tetrohedrons
Pyramid approach: changing the number of segments
Changing the number of segments
Experimenting using the previous geometries
Experimenting with fractured pieces to create the a square pyramid. I like this iteration because there is no core structure outlining its form although the space between the exploded pieces and the pieces themselves define the boundary for this iteration. This iteration would be very difficult to make physically on site in contrast. On the other hand, the idea of floating pieces intrigues me and I might perhaps incorporate elements of this iteration in furthering my design in Part C.
Experimenting with polygonal shapes to form a pyramid. What I think interesting about this iteration was how it utilized the same shape to different scales to generate something grander and something that does not look like the shapes it is compiled of. This form was generated with ease by changing the number of segment of the overall shape had and changing the smaller pieces scale in order to effectively stack to create the triangle.
Experimenting with shapes to create a hexagonal pyramid. What I tried to adopt from the morning line case study in this iteration was to create something with a fractal nature regardless of what scale the iteration was inspected it would still have the same level of complexity. Its repetitive qualities that are quite beautiful and intricate. I was surprise when was able to produce this form asserting the power of computational design.
Experimenting with polygonal shapes to form a ‘upside down’ triangular base pyramid. In order to create this iteration I first defined the number of sides in order to create tetrahedron, and then created more at its vertices. I then reduced the initial tetrahedron to produce this form. In this iteration modularity was explored with the stacking of identical modules. This could be on of the methods later adopted in Part C in order to create a sculptural composition.
B.3
case study 2.0 Times Eureka Pavilion
Location: London, United Kingdom Function: Pavilion/ Garden Structure: Timber sourced from sustainable spruce forests with a glass panelled roof1 Designing Period: 2011 The pavilion demonstrating humanities symbiotic relationship with natural ecosystems.
The temporary garden or pavilion explore the impact of plants to science and society. Plant species chosen for the Eureka Garden reflect their benefits to society including medicinal, commercial and industrial uses underlining the fact we could not survive without them.1 The pavilion design brief was to reflect the same theme. With NEX Principal Alan Dempsey own words: “We extended the design concepts of the garden by looking closely at the cellular structure of plants and their processes of growth to inform the design’s development. The final structure was designed using computer algorithms that mimic natural growth and is intended to allow visitors to experience the patterns of biological structure at an unfamiliar scale.” 1 We could ensure that the pavilion is a great exmaple of biomimicry using parametric design.
The design development of the pavilion focused on the ‘bio-mimicry’ of leaf capillaries being embedded in the walls. Using computational genetic algorithms , the structural geometry was finalized to use primary timber capillaries (300dp x 140wd) to form the basic shape and supporting structure of the pavilion, inset with secondary timber cassettes to hold the cladding.1 Hence, a modular structural grid was formed. Besides, using sustainable material is also important in order to produce a biomimicry design idea. The loadbearing branches are made from wooden spruce panels.2 Recycle plastic strips are coiled into round forms and inserted into the cassettes, transmitting diffuse natural light to the interior.2 The roof is covered in glass and collects rainwater directing it to downwards and into the soil of the garden. The project’s contextual qualities are achieved through a scientific approach in illustrating patterns of biological structures, it would impact on people’s mind that we cannot survive without nature.
1. ‘Times Eureka Pavilion / Nex Architecture’, Archdaily, last modified June, 2011, http://www.archdaily.com/142509/times-eureka-pavilion-nex-architecture/ 2. ‘Times Eureka Pavilion – Cellular structure inspired by plants / NEX + Marcus Barnett’, LIDIJA GROZDANIC, June, 2011, http://www.evolo.us/architecture/times-eureka-pavilion-cellular-structure-inspired-byplants-nex-marcus-barnett/
Pattern Study of Eureka Pavilion
1. Voronoi Points For Main Structure
4. Voronoi Points For Secondary Structure & Cassette
2. Voronoi Pattern & Adjustment -Voronoi Pattern created -Determining Openings -Adjusting Matching Lines
5. Voronoi Pattern & Adjustment
3. 1st Amendment -Main Structure (140mm) -Secondary Structure A(50mm)
6. 2nd Ahendment -Main Structure(140mm) -Secondary Structure A(50mm) -Secondary Structure B(20mm) -Secondary Structure(20mm)
A) Folding Generated Patterns
B) Concentric Extrusions
C) Main & Sub Structure + Casette Extrusion
D) Cell Division & Curve Filleting
Trying to recreate pattern of Eureka Pavilion in Grasshopper
1
5
2
6
3
7
4
8
1 Experimenting
a basic Voronoi pattern on a surface with component “Divide Surface” to get the points on the surface. Then, points were flattened to connect with “Cull Pattern” for getting random points. Voronoi component then connected to the culled list. However, the result is not satisfying because there was overlapping intersections of the offset of the pattern of voronoi.
2 The
grasshopper algorithm was altered with a series of component in order to create a perfectly offset and intersecting form.
3 Each
geometry was listed as an item and connected to component “Boundary” so that an individual surface was assigned to each section. The following step is to create a gird of points within each geometry. The populate 2D component was connected to “Boundary” but it did not work reason being it was creating a grid of points for a rectangular geometry.
4 Then,
I replaced populate 2D component with populate 3D component. However, it did not work as well because it was creating a grid of points for a rectangular geometry.
5I
discovered populate geometry component and it functions perfectly for this pattern by distributing points evenly within the boundary of each surface.
6 The, the voronoi component was then
added to the populated geometries to get the pattern. Voronoi3d component was picked to connect to “PopGeo” component but failed to produce a satisfying outcome because voronoi pattern were developed within each square instead of the boundary of geometry.
7 The
output points of “PopGeo” was being flatten to get rid of the square. However, the voronoi pattern did not stay within the geometry surface as they went freely intersecting the entire surface.
8 Finally,
the “Voronoi Group” component was discovered and added to the populated geometries. The offset was adjust to create a more suitable design that now can be used to fabricate and test.
B.4
Technique development
case study 2.0/ species Experimenting using component Extrude by extruding of a base curve and created voronoi pattern on surface.
Exploring the potential of point attractors; the patterns of voronoi cell change by the position of point attractors.9vv
Experimenting by creating a voronoi wall with different thicknesses and extrusions.
Exploring 3D voronoi on curve surface
Interesting failure.
Lofting a surface then applied 3D voronoi and offset to get voronoi pattern on a organic surface.
Exploring to get some of the voronoi cell surfaces closed while some of it left hollow.
Mapping of the voronoi pattern over the 3D surface
case study 2.0
Most successful outcomes The first outcome experimented with the mapping of the pattern from the Eureka Pavilion onto a curved surface instead of a flat surface. It was interesting how straight lines were used to create curved surface. A curved surface was lofted and generate which were later extruded using some scale sliders in order to create this interesting form that could perhaps be used as funnels which could potentially be lined with a piezoelectric material in turn producing and harvesting water filtration.
This version has quite a nice rigid quality to it, featuring random openings throughout the structure or surface using the component division and minimum to control the strength and coverage. Weaves component is applied to generate the steepness around the voronoi cell. The feature bridged the gap between computation and cell growth in a simple yet effective way.
This outcome, I was trying to create interchanging open and closed voronoi cells. In order to create the basic structure the curves were lofted to create the desired surface and was then offset with voronoi cells. The Clean Tree component was used to remove all null and invalid data in the center box. The brep | brep was applied to solve the intersection and structure was being offset and extrude.
Finally, this iteration is composed entirely of smaller open areas which could be incorporated in several ways in the proposal. More openings mean that there is the ability to allow for more sunlight inside the structure. Also, this iteration has quite a smooth and flowing form which are quite inviting for potential future users in The Colingwood Children’s Farm.
B.5
Technique: Prototypes
Gluing
1
Folding
2
Stretching
3
The third prototype I made was also a sketch model which in terms of material choice was quite different to those explored earlier. This model was quite experimental in nature I used wires. The materials obviously have very different properties from others. The wire used symbolized the core structure of the sculpture that would not be triggered by mechanical forces such as wind and rain that would be converted into electrical current and send back to the main grid. This prototype also looked at how it projected shadows in this case one light sources were flashed and produced cone like shapes.
Folding + Gluing
4
In this example, it records my explorations and attention were directed more towards creating a curved surface. By this, I tried to create an illusion of a moving surface through the use of straight lines. This model was made manually using 0.6mm thickness of balsa wood which proved to be quite a durable material although upon completing the model I realized that significant bending was occurring. The space between the different members was too large and intermediate supports were needed in order to prevent further deformation.
The first model is a cube minus the top face constructed of voronoi squares. Two dimensional planes are used to make a three dimensional form. This model was constructed from thin one millimeter card, which was developed in grasshopper. The voronoi cube produced shadow that were reminiscent of biomimetic form such as spider webs for instance.
The second prototype was a quick sketch model that seeked to explore how a cheap and fragile material such a paper/card could develop repetitive shapes that resemble cells and their interaction with one another. This very simple model was inspired by a precedent that was explored in B1 which is Canopy by United Visual Artists. The mountain like shapes are clearly inspired by those used to create the canopy. Due to the used of card and masking tape, the structure was fairly weak and light although the base of it was hold by a paper. This structure did not display structural integrity.
Once I collectively decide on the design/sculptural pathway that I wanted to pursue, I created a fabrication file that was simplified a significant amount in order to be easily manufactured. I choose to prototype this model in particular as I was able to effectively incorporate the use of computation whilst also seeing the potential for the integration of human and animal. In part C of the project, I will explore further the design through the consideration of scale/size of the sculpture to see how to best optimize the design for the respond to farm animal. The model was made using bending, gluing of tabs which proved to be an effective method of model making.
B.6
Technique: Proposal Design concept The design concept is based mainly on the idea of ‘biomimicry’ and the site at The Collingwood Children’s Farm where the sculpture will be installed. The concept revolves around the notion of growth and adaptation like a growing cell to the children’s farm encourage a new awareness and understanding about behaviors and responsibilities of human to farm animals.
Education Yarra track contains varied interpretation pertaining to River Ecosystems and the learning shelter that serve onsite could be used by local students.
Concept Parti Diagram
Proposed site:
The Collingwood Children’s Farm located by Yarra River. The sculpture proposed could delicate relationship creates a space within the landscape – a void that delineates the farm. A new boardwalk circumscribing the river passes through the children farm which also could be called educational zones that explicate the different animals, plants, and habitat found in each. For my design, I have chosen to generate a pavilion integrated into the boardwalk sequence provides shelter for open-air classrooms on the site. With the design’s improvements to landscape, accessibility, and shelter, the site is able to function as an outdoor classroom in which the co-existence of natural and urban surroundings is demonstrated.
Yarra River
The Farm Cafe
Technique:
I strive to create a proposal that has the capacity to function as an outdoor classroom for the children that visit at the farm. In Collingwood Farm, visitors are allowed to walk around the farm to see the farm animals. Through adaptation, my proposal/sculpture will be separated to a few little sites to make sure the visitors have interaction around it while experiencing the joy of getting closer to animals. The innovative and challenging part of the design is to divide the sculpture in different spot of the farm simultaneously develop all aesthetically that is inviting and exciting. I am trying to push the idea of “adaptive capacity” as it is relevant to the farm plan, biomimicry and most of my aim of creating a children shelter that has the ability to adapt to its surrounding, environment and condition. For instance, visitor could climb on the sculpture to have more interesting view of the animal. My proposal utilized the voronoi component in grasshopper to create the openings while will also frame the views of the farm. The window like opening are symbolic of the arbitrary nature of cell growth and development.
Proposal 1:
Experimenting with scale I would also like to discuss the placement of the sculpture. The idea is quite straight forward, I would like the sculpture to act as a shelter that is transparent through the center grid. Therefore the design must be placed in the center of the land provided, facing directly out towards the river. It could attract human traffic coming directly from Yarra Track and also will have a good view out through the center of sculpture.
Predominent wind direction
Proposal 2:
Experimenting with position
Proposal 3:
Experimenting with orientation
B.7
Learning Objectives and Outcomes Studio Air thus far has greatly utilized a whole new world of computation, parametric design and architectural discourse that I have never explored or understood before. The Part B module especially has given me the opportunity to explore the potential of parametric modelling through activities such as creating iterations of Aranda/Lasch’s special polyhedral used for their Morning Line project to reverse engineering NEX’s Eureka Pavilion I have continuously expanded my horizons and found out how powerful computation is in generating forms and designs using Grasshopper. Apart from that, I have developed some essential digital modelling skills and at the same time also enriched my writing and analytical skills through explorations conducted on various precedents especially in Part A. Besides, the generation of iterations and construction of prototypes have also given me an opportunity to practice and display my analytical skills, through activities such as creating selection criteria and pseudo codes. This module, required me to produce models for the interim critique, I expanded my knowledge of digital fabrication and model making material as well which has equipped me with the necessary knowledge to tackle the final part of the journal of Studio Air. The preparation of a design proposal has forced me to use other software programs to create photo montages to give a sense of location, scale and positioning of the proposal using Adobe Illustrator and Photoshop. The photo montages helped me understand how the proposal would interrelate with the site and what changes had to be made in Part C to enhance the integration of the sculpture on site which was brought to my attention in the mid-semester critiques. The mid-semester presentation has given me an experience of how to prepare and layout a presentation as well transforming constructive criticism into design goals through openly discussing the design’s limitations and boundaries. I think that from here on in, my design will have to show deeper analysis of the shelter precedents selected and show how a shelter will influence the Collingwood Children Farm activities. My design explorations have incorporated the use of parametric modelling and analytic diagramming. This has proved successful in generating more design possibilities. More importantly, I have been able to dissect and interrogate the brief. The concept responds to that by providing a gateway installation for Collingwood Children Farm that will do more than just capturing visual interest, but also encouraging reflection and conversation through an experiential richness.
B.8
Appendix Algorithmic Sketches
The graphic section video introduced a controlling the flexibility of the charge using graph mapper. Through varying the pattern of Graph mapper, the pattern of curves and series of different sections were achieved. Examples of some of the results that were produced are visible above. I was surprised at how grasshopper is capable of converting graph pattern into form and this exercise was a clear indication of how through the understanding of simple pattern of graph, beautiful forms could be produced using algorithms.
The spiraling video introduced a variety of mathematical parameters such as pie in order to g a series of stimulating results. A series of different forms were achieved via varying the number of turns and number of points. Grasshopper has impressed me of its capable of converting mathematics into form and this video tutorial was a clear indication of how through the understanding of mathematics, form could be made using algorithms.
Gradient descent video introduced me a function of clustering a series of components. Since I started working with Grasshopper, I never needed clustering, I always think that it is an old and effective technique for reducing the visual (not computational) complexity of your definitions. Yet, it helps me save time and space on the canvas after using it. In my case, I have to connect those four inputs again to my points and surface. Then I also created outputs to connect with curve component. The pattern and field of the curve then change according to the number of slider connected to the ‘strength’ of each cluster.
references list 1. ‘biomimicry’, last modified 2010, http://www.designboom.com/contemporary/biomimicry.html 2. ‘Airspace Tokyo | Faulders Studio’, last modified June 27, 2012, http://www.arch2o.com/ airspace-tokyo-faulders-studio/ 3. ‘Artificially blended with nature’, last modified 11 Jun 2007, http://www.worldarchitecturenews. com/project/2007/1142/thom-faulders-beige-architecture-and-design/airspace-tokyo-inkitamagome-ota-ku-district-tokyo.html 4. ‘Airspace Tokyo by Faulder Studio’, last modified March 15, 2010, http://travelwithfrankgehry. blogspot.com.au/2010/03/airspace-tokyo-by-faulders-studio.html 5. 1. ‘Maple Leaf Square Canopy / United Visual Artists’, Saieh, Nico, last modified Oct 15, 2010, http://www.archdaily.com/81576/maple-leaf-square-canopy-united-visual-artists/ 6. ‘Canopy’, last modified 2010, http://uva.co.uk/work/canopy 7. ‘Canopy Brings a Forest to the City’, By Paul Caridad, last modified December 16, 2010, http:// www.visualnews.com/2010/12/canopy-forest-sculpture/#SozkWh2kKdoy1Qp0.99 8. ‘AD INNOVATOR: ARANDA\LASCH’, Fred A. Bernstein, last modified Jan 2, 2014, http://www. architecturaldigest.com/architecture/innovators/2014/aranda-lasch-ad-innovators-2014-article 9. ‘the morning line by matthew ritchie with aranda\lasch and arup’, leeji choi, last modified April 5,2009, http://www.designboom.com/art/the-morning-line-by-matthew-ritchie-with-arandalasch-and-arup/ 10. ‘Aranda/ Lasch: Cracking architecture’s code’, By Justin McGuirk, last modified February, 2008, http://www.iconeye.com/component/k2/item/3106-aranda/-lasch-crackingarchitecture%E2%80%99s-code 11. ‘Matthew Ritchie with Aranda\Lasch and Arup AGU – The Morning Line’, CAAC, Seville, last modified 2008, http://www.tba21.org/augarten_activities/49/page_2 12. ‘Times Eureka Pavilion / Nex Architecture’, Archdaily, last modified June, 2011, http://www. archdaily.com/142509/times-eureka-pavilion-nex-architecture/ 13. ‘Times Eureka Pavilion – Cellular structure inspired by plants / NEX + Marcus Barnett’, LIDIJA GROZDANIC, June, 2011, http://www.evolo.us/architecture/times-eureka-pavilion-cellularstructure-inspired-by-plants-nex-marcus-barnett/
PART C
Detailed Design c1. c2. c3. c4.
Design Concept Tectonic Elements & Prototypes final detail model Learning Objectives and Outcomes
References
C.1
Design concept concept review
The interim presentation feedback suggests the need for further refinement of the design concept and implementation. The main limitating factor would be the lack of exploration with the parametric tool itself which then narrow down possibilities for innovative design. But nonetheless, I would maximize the algorithmic technique that I have learnt so far due to time constrain. One of the major concerns was to address the issue of voronoi cells and the resulting clarity in my originally intended pattern upon the surface. Furthermore, the form has to be more logical, rather than some arbitrary lofted surface. Then, the opening has to also be optimized for maximum wind penetration. Furthermore, the design concept also needs to be refined to create a more in depth meaning to the installation in relation to the site. After I am set with the deisgn, then I can move on refining the tectonics and constructability. There were suggestions raised during the consultations that the composition of timber panels would not be sufficient enough structural and would therefore require additional support for the design to be buildable. A possible solution that may address this issue was to implement a framing system, which consisted of members with a level of depth sufficient to add structural integrity to the enclosure. The timber panels would then be ideally laid upon the frame. Other than that, my refinement stage of the proposed technique needed to include a more focused integration of materiality within the design. I will specify a specific type of timber that may increase intensify the aesthetic qualities of the shelter design while address the issues of longevity and maintenance requirements that arise from using time that is exposed to potentially strenuous weather conditions. Lastly, the positioning of the shelter to be proposed on site was also to be considered. Revitalization of the site could be achieved through the generation of differential landscape and landmark that keep attracting people entering into the site.
design concept The intention of the proposed design for the shelter is to facilitate visualisation experience for the visitor in The Collingwood Children Farm by providing a sculpture for an usual experience along the landscape. The main inspiration that lead to the shapes and patterns of the installation was the nature and rural features of the city and its surroundings, with an approach that faces it as a potentiality that shall be embraced by the municipality and its population. Taking shadings effect caused by the incidence of the sun in the trees as a referenc, the composition of the elements applied in the installation aims to produce a notable shadow effect through the farm by the exploration of materials, natural and artificial lights. The final design is also a reflection of the research made on the use of patterns in architecture and their relationship with the precedent project that inspired the design process, the appliance of patterns and the way they were related to the generation of shading effects through the use of light. As a secondary design intention the shelter aims to express the idea of transition, which was reached among the appliance of similar but different pattern along the entire structure, associating them with density and allowance of entering of light. The whole installation is composed by few parts in which were applied the pattern is different densities, as an attempt to associate the inspiration from the nature and the goal of expressing the idea of transition though the shelter.
Animal area
Animal area Animal area
Abbotsford Convent
Main Yarra Trail
Capital City Trail
Animal area
Animal area
Animal area
Animal area
Yarra River Yarra River
Form generating process Design objective To facilitate visitor experience - Views | Seats | Shelter
Conceptual sculpture planning Views-
Abbotsford Convent
Main Yarra Trail
Capital City Trail
Seats-
Abbotsford Convent
Main Yarra Trail
Shelter-
Capital City Trail
Animal area
Capital City Trail Animal area
Animal area
Animal area
Animal area
Animal area
Animal area
Yarra River
Animal area
Animal area
Yarra River
Yarra River
Yarra River
To have unusual experience to interact with the farm animals
Capital City Trail
Yarra River
Seats- To provide bench for visitor
Abbotsford Convent
To have protection
Capital City Trail
Main Yarra Trail
Animal area
Animal area
Animal area Animal area
Animal area
Animal area
Yarra River
Yarra River Yarra River
Abbotsford Convent
Animal area
Animal area
Main Yarra Trail
Animal area
Yarra River
n from rain
a
Abbotsford Convent
The basic form design is raised from the design objective conceptual diagram. Exploring of the diagram of each conceptual area to be proposed to sort out the best outcome. The shelter proposed not only protect people from the rain but also facilitate the farm. The curves are emerged from the perimeter of potential site and some changes are made for some parts according to the overall direction of the wind coming from to increase the ventilation of the shelter. Besides, also to ease the panelling process.
Capital City Trail
Main Yarra Trail
Abbotsford Convent
Main Yarra Trail
Animal area
Animal area
Animal area Animal area
Animal area
Animal area
Yarra River Yarra River
Yarra River
Programe Studies Programe Studies Programe Studies Local visitor
Foreign Visitor
Multifunctional shelter Terrace Seating area Shelter/shading Views
Conceptual circulation Circulation
Capital City Trail
Potential site
Abbotsford Convent
Main Yarra Trail
Animal area
Animal area
Animal area Animal area
Yarra River Yarra River
Conceptual sculpture form Capital City Trail Animal area Animal area Yarra River
Animal area Animal area
Animal area Animal area
Yarra River
Animal area
Animal area Animal area
Yarra River
Animal area
Yarra River
Animal area
Design Strategies
- Design Approach
Strategies: Propose different level of terrace Objective: More adventurous & exciting experience in the farm Approach: Propose numbers of irregular height/form of sculpture
Strategies: Shelter for benches Objective: Protection from rain Approach: Propose small area of canopy
Strategies: Sunshades and Sundscreen Objective: Natural lighting during daylight hours Approach: Propose pavilion that wrapped with a punctured faรงade that allow daylight to penetrate.
Strategies: Propose multiple entrance To have smoother Objective: pedestrian circulation; generate people Approach: To propose more than an entrance at different edge of sculpture
basic form
Polylines were added based on the programme planning on the site.
Loft and patch to make surfaces.
Set layer in Grasshopper.
Create surface with voronoi panels
On each surface, irregular number of points are popped. They are arranged in sequence according to their position on the regarding surface.
Followed by voronoi component and control point, then evaluate surface component are connected to nurb curve and polyline to connect the points, both output were flatten.
Surface were split from polyline and connect to cull and dispatch component to randomize the pattern (opening) of voronoi cell.
voronoi cell Dispatch component were grafted brep edge and scale component to create thickness for the different direction of panel.
Applied definition on other surfaces and decide the opening of the voronoi cell based on the programme planning on site.
Baked from grasshopper and applied material on Rhino.
panels
Voronoi cell shape as basic pattern
Use area centroid as the centre to scale the boarder of the surface
For the paneling, I decide to combine the theory of Biomimicry which is mimicking techniques or structure from nature. The structure of organisms has been evolving to survive from the nature. For examples, the cells or patterns of the nature seem like repetition of one cell but some parts are duplicating and transforming to fit to the surrounding environments. The patterns of the design are emerged from voronoi cell shape. It seems like repeating of voronoi cell but some parts of the cell holes are bigger and some parts are smaller than others. It is reflecting the surrounding environment.
Loft the original and the scaled boarder
Attaching panels into surface Through the use of three different patterns, three distinct interfaces of shadows are allowed to happen, and they are multiplied when considering the entire structure, the incidence of the sun, and the patterns sizes and densities when spread over the whole installation. Associating a simple voronoi cell shape, the patterns evolve to two other different forms related to what the design aims to represent. The first one, represents the spring leaves, which is a simple voronoi cell shape, represent the leaves, and the desired seating purpose projected by it is achieved through the composition of the patterns. The second one is the progression of the pattern design to a dimensional typology, the shadow caused by hollow surface of the cell by allowing the light to enter through different angle, projecting dappled effect on the ground, represent the autumn leaves. And the third on is a version of the second one with a bigger opening, allowing the light to enter directly through the hole in the center of the pattern, representing the summer leaves. The material of facades is timber because it is ecofriendly material and we thought it harmonize with surrounding environments which is grass and creek.
grasshoppe
er definition
C.2
Tectonic Elements & Prototypes Core Construction Element The Load Bearing Frame
The selected core construction elements to test on is the framing system for the external faรงade. Though in previous studies on ICD/ ITKE Research Pavilion 2011 shows the wooden structure with finger joints is very stiff. But it is still a bit risky by simply using wooden panels to support the whole structure which reaches 7 metres in height. Thus steel is chosen as the major load bearing members. Here is the diagram illustrating how to fit the panels with the steel load bearing members.
Core Construction Element The Load Bearing Frame
Here is physical models of the selected part of the framing system at a scale of 1: 20. The panels are prefabricated with 2D printing and the welding steel joint is steel plate. They fit into each other perfectly, demonstrating the accuracy of the computational design and the convenience of prefabrication.
Core Construction Element The Load Bearing Frame
Here is physical models produced with the prefabricated materials. The resulting structure is easy to assemble and shows sufficient potential in terms of structural performance. The composite model is rigid and tough. And the angle of the panels are fits with the original virtual model. Moreover, with only two panels, it already demonstrate the potential of establishing a free standing structure for the external faรงade.
Core Construction Element The Load Bearing Frame
These images demonstrates the intricate pattern of the framing system and its resulting lighting and shading effect which is dynamic and evocative. In actual construction, this would provide the visitors with interesting visual and spatial experience and provide the site with a vibrant energy.
C.3
Final Detail Model Final detail model
Final model of major structure
This is a 2D model of the major structure which is to demonstrate the spatial arrangement of the intricate internal space of the Farm Shelter. Constrained by the 2D printing limits in terms of sizes, thickness of each member and available material, there are several features can not be shown in this model. It is produced at an scale of 1:50. The external faรงade is simplified to voronoi cell shape panels. It shows the spatial arrangement with the potential lighting and shading effect of the interior and demonstrates the intricacy of the external faรงade.
actual model of major structure
scale 1:50
Propose concept: Farm shelter facilitate collingwood children farm in term of seatings, shading and view
View of external facade The intricate steel framing system for the external faรงade offers interesting pattern generating of an dazzling effect of lighting and shading, evoking an evocative sense of aesthetics.
3D render
facilitate collingwood children farm in term of seatings, shading and view
View from farm entrance After walking along the long path from the site entrance, which concealed the shelter by its intricate pattern, visitors will be suddenly exposed to the voronoi world of the Farm Shelter. This would offer the visitor with exciting visual and spatial experience.
3D render
facilitate collingwood children farm in term of seatings, shading and view
View of shelter platforms
The Shelter Platforms are to offer visitors a space to access the farm animal scene across the farm as well as the wonderful view over the historical urban fabric while they are enjoying the natural environment.
3D render
facilitate collingwood children farm in term of seatings, shading and view
View of semi-open space The structural supports at the fringe of the Farm Shelter separated some semiopen spaces for individual or family activities. But with careful arrangement of the structural members, these semi-open spaces can still enjoy the amazing natural lighting effects.
3D render
C.4
Learning Objectives and Outcomes The course introduced me into a total world of design. With computation technology, especially algorithmic thinking and parametric design, it is possible to produce intricate design that integrates multiple layers of design decision based on rationalized information analysis. In my own response to the project brief, I try to find a solution based on multiple dimensions of parametres set by different perspectives such as energy performance, local climate conditions, structural performance, site view analysis, pre-fabricational technology and others. As I explore the Grasshopper system throughout the course, I was excited to see the unexpected power of parametric design. First of all, as I have discussed before, by algorithmic thinking, I am able to produce a rational and intricate design instead of the making vague or random decision just for form-making that dominated in the traditional design. Secondly, I realized by the same algorithm, generally multiple forms can be developed, among which we can further explore its potential either by simply aesthetical considerations or by adding new constraints from the developed from new a perspective based on further studies on the project. This is excellent because there is a chance for architectural design to finally reach an integrated solution that works at intersectional point of multiple aspects, for instance, the energy performance, the structural performance, that interaction with the site, the aesthetical affect and so on. Thirdly, it was interesting to see the intricate yet holistic design solution with each of the member can be detailed in digital file and prefabricated. This offers a chance to architects to experiment with the design decisions by physically testing on the prefabricated models. Also, it implied an early interaction with the structural engineers, the fabrication manufacturers as well as other disciplinary experts in the formation of a final design solution. This suggests the increased power of the architects in the architectural design process as they can go further into every details such as the design for each structural members in the structure. Moreover, this facilities the process of assembly and construction on site, reducing the manual work and time consumption for a project.
Finally, I was surprised by the capacity of computational technologies in terms simulating environmental situation, force conditions, etc. Though such a simulation is still in a starting stage and needs to be refined, it still demonstrates the unpredictable potential of algorithmic design in the future. And I really wish to see that in the near future, I can come up architectural design that responses to the proposed conditions rationally in every design decision.
It is also interesting to see the debate around parametricism and parametric design. However, parametric design, to me at least, is just a tool for forming an integrated design decision rather than a “style” as is claimed by Patrik Schumacher. As I can see in Zaha Hadid’s design, in architectural design of the parametric tools are misused as a form-making tool rather than a form-finding tool. The real potential of parametric design lies in the form-finding process based continuous study and analysis on the information from multiple disciplines and finally reaching an integrated design solution that is unique for each proposed project. Though in the process, a series of “tools” might also be developed and applicable to other projects.
Learning Objectives and Outcomes
References 1. Institute of Computational Design, (2012). ICD/ITKE Research Pavilion 2012 http://icd.uni-stuttgart.de/?p=8807. 2. Fry, Tony(2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1-16 3. Oxmanm Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1-10 4. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 5. Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robeert McNeel and Associates, pp. 1-42 6. Peters, Brady, (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 8-15 7. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Science (London: MIT Press), pp.1112 8. 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 9. Moussavi, Farshid and Micheal Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp.5-14 10. Peter, Brady. (2013) ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61. 11. Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New Yok; London: Routledge), pp. 1-61 12. Kolarevic, Branko (2014). ‘Computing the Performative’, ed. By Rivka Oxman and Robert Oxman, pp. 103-111 13. Burry, Mark (2011). Scripting Cultures: Architectual Design and Programming (Chicester: Wiley) pp. 8-71