Studio Air Journal Part C by Jessica Lourens

UNIF / JESSICA LOURENS 812945 /

CONCEPTUALISATION

2 CONCEPTUALISATION

Introduction A.00

Design Futuring A.01 Design Computation A.02

Composition/Generation A.03

Conclusion A.04

Learning Outcomes A.05

CONCEPTUALISATION 3

BIOGRAPHY

Hi, I am Jessica, a second year student undertaking Bachelor of Environments in the University of Melbourne, majoring in Architecture. My family background mostly intrigues and encourages me to be creative. And designing something that could improve othersâ&#x20AC;&#x2122; lives is my lifetime goal. I believe one way achieving it by being a designer. Growing up I started to have my interest in drawing, hand-crafting and photographing. Based on these interests, I decided to pursue it into my career by studying architecture. My technical knowledge of digital programs such as Adobe Photoshop, InDesign, Illustrator, 3DMax, Rhino and AutoCAD could be considered fairly expereinced as I recently learnt and used them in university.

A.00

INTRODUCTION

CONCEPTUALISATION

PREVIOUS WORK

Digital Design Fabrication Project, 2017

Studio Earth Herring Island Project, 2017

CONCEPTUALISATION 5

A. 01

DESIGN FUTURING

6 CONCEPTUALISATION

GLASS SKYSCRAPER PROJECT In regards to Design Futuring, Tony Fry mentions redirective practices in design are needed to maintain the sustainability so people can preserve the possibility of future.1 Along with the concept, the current design futuring that occuring today is similar to the practices of early modernists. And here, we are specifically discussing about Mies. Mies was discovering universal language that is suitable for the future through architecture. His Glass Skyscraper Project is one of the case that contributed the disclosure of culture in radical ways. Seems like Mies wanted to change society’s perception through his design and indeed, this kind of revolutionary thought is needed for future design. However, as Fry says, “there is a huge gap between urgently needed action and the current and imminent availability of the means”.2

1 2

Today, such skyscrapers are seen everywhere around the world while the two Mies’s skycraper projects remain as a revolutionary case that open the discussions -architecture should not be limited to certain standards butit should have the freedom of design. Though, it would not be possible without the contribution of sustainability. Taking this as the consideration, Mies did bold approach of his new modes of thinking that leads to the change of underlying human values, yet he did not consider the importance aspects in designing a sustainable future. So, architectural practices needs to ensure the health of our planet in order to move forward to the future by using planets resources more efficiently.

Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 10. Ibid. CONCEPTUALISATION 7

A. 01

DESIGN FUTURING

8 CONCEPTUALISATION

HEYDAR ALIYEV CENTER Heydar Aliyec Center is an aesthetic combination of continous and fluid design with the surrounding enviroments. The design itself embodies blurring distinctions between architectural elements and the ground its inhabit. Continously flow from carperts to walls, walls to ceillings and ceillings to dome shows how Zaha Hadid does not percieve the standarisation of buildings that should have separate floors, walls and roofs but she shows it can be beyond it. This shows the ability of architectural form to provoke culture and social changes. Here, she instigates changes and instil thoughts for the future through her radical design. In other words, she “opens up more possibilities to give what people really want”.1 Because such future could not be predicted and what can people do now is contribute

to giving more desirable future.2 Undoubtly, designing for future is not easy but Zaha succed to generate new alternatives that pushes the boundary of current technology. These thoughts are needed to inspire other designers so they start to rethink or even future. The design is looking at the future culture possibilities for the nation. And this idea leads to the consideration that designers need to see the overall context and look forward into the future by creating speculative designs. By being critical in observing current states of people’s living, designers would be able to produce designs that responds to necessities of both nature and society - which can be said as a good design.

Anthony Dune and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreamig, (Cambridge, MA: MIT Press, 2013), p. 44. 2 Ibid. 1

CONCEPTUALISATION 9

A. 02

DESIGN COMPUTATION

10 CONCEPTUALISATION

GEORGES This famous design of restaurant by Jakob & MacFarlane was created through computerisation approach. It symbolises the development of computer processing has expanded throughout the time.1 And in this particular project, computing has become the most important role in design process as well as creating a structure.2 Using NURBS as the based software, they were able to developed the design structure.

designers can not excessively rely on it. In recent years, the use of digital technology has shifted significantly. From the use of “drafting and modelling systems” to entirely using computer for the design process.4 Becoming designers’ solutions -in saving energy, cost, etc- does not mean computing approach has to replace the existance of drawing and modelling.

The structure used Alluminium semimonocoque (the skin of the structure had the major impact in design structure. The project was started from modelling all the components in digitally and then digitally cut and fabricated. Due to the computing approach, “real physical models” are not needed until the design project was finished.3 Indeed, the use of computing approach in design process is advantageous, yet Rivka Oxman and Robert Oxman, eds, Theories of the Digital in Architecture (London; New York; Routledge, 2014), pp. 7. Georges Restaurant’, Jakob+Macfarlane < http://www.jakobmacfarlane.com/en/project/georges-restaurant/>. \3 Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spoon Press, 2003), p. 10. 4 Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), p. 4. 1 2

CONCEPTUALISATION 11

A. 02

DESIGN COMPUTATION

12 CONCEPTUALISATION

The structure used Alluminium semimonocoque (the skin of the structure had the major impact in design structure. The project was started from modelling all the components in digitally and then digitally cut and fabricated. Due to the computing approach, “real physical models” are not needed until the design project was finished.3 Indeed, the use of computing approach in design process is advantageous, yet ‘Smart Masonry’, ZA Architects < http://www.zaarchitects.com/en/public/125-smart-masonry.html>. Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), p. 16. 3 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 10. 4 Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), p. 16. 1 2

CONCEPTUALISATION 13

A. 03

DESIGN COMPUTATION/GENERATION

14 CONCEPTUALISATION

HYGROSKIN Hygroskin is a project that experiments with biomimetic principal and with the use of computation process, the structure is able to be created. The design is specifically focused on the material’s intrinsic properties in response to the surrounding environments. In other words, the design is heavily influenced by climatechange and its material systems will directly response to the changes.1 And in this case, opening when its dry and closing when its wet.

are increasingly experimenting with computation to stimulate building perfomance”.3 However, this whole idea of mimicing natural systems still remains one of generative designs shortcomings. Such processes could harness the benefits of computational design and use it to create a ‘second nature’.

Through the use of computing process, they were able to define the materialisation of the structure. By developing plywood sheets as the material, it is able to support the whole structure due to its elastically self-forming.2 Here, the use of digital technology opens up new architectural possibilities by exploring material behavious instead of geometric shapes. As Brady mentions, “architecture ’Hygroskin’, Achim Menges < http://www.achimmenges.net/?p=5612>. Ibid. 3 Peters Brady, Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83,2, p.13. 1 2

CONCEPTUALISATION 15

A. 03

DESIGN COMPUTATION/GENERATION

16 CONCEPTUALISATION

RESEARCH PAVILION 2011 With the use of parametric modeling, designers could achieve more complex geomteries as its rationally analyse, compare and algorithmically calculate large amount of data and information. It definitely benefits designers because it helps them to simplify the effort as well as save time for decision-making.1 As one of the example, Research Pavilion by ICD/ITKE demonstrates how architecture can utilise the advantages of parametric modeling.

For this particular project, parametric modelling was the key in generating the design and without it, would be hard for the designer to develop. More potential of errors would easily happen and might not be detected.

Similar to previous precedent, the pavilion was inspired by biological principles and in this case, “the sea urchin’s plate skeleteon”.2 Through the use of parametric modeling, they tried to recreate the ideas. Due to its flexibility, parametric modeling provides more freedom when they decided to change the overall form. And this means parametric modelling will also give a greater effiency for the design process.

1 2

Peters Brady, Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83,2, p.13. ‘Research Pavilion 2011’, ICD/ITKE < http://icd.uni-stuttgart.de/?p=6553>. CONCEPTUALISATION 17

Can design act as a problem solver?

How?

In this Part A journal, the investigated design approach opens up the direction which designer needs to solve societyâ&#x20AC;&#x2122;s problems in regarding of the unsustainbility decisions that society made which later will have a bigger impact on the future. One of the solution is through design.

Through the advanced developement of algorithmic software, or parametric modelling or other creative installation, they can be the medium for designer in designing a better future. Still, excessively relying on those digital computation would no longer serve its original purposes.

A.04 CONCLUSION

18 CONCEPTUALISATION

Prior to Studio Air I barely had much understanding of architectural computing theory. I percieved architectural computation is a technical thing in order to design effeciently or create a design proposal. Algorithms and parametric modeing are relatively new concepts that I am barely known. And in these past few weeks, I tried to learn and understand the concepts, which helps developing my understanding in computation as well.

the best part of the course. It surprises me that such softwares or plugins could have greater influenced in designing. Complex forms are not longer limited design process, which means designer like me, will have a lot of freedom to express our creativity without any constraints.

A.05

LEARNING OUTCOMES

CONCEPTUALISATION 19

A.06

ALGORITHMIC SKETCHBOOK

CONCEPTUALISATION

CONCEPTUALISATION 21

CRITERIA DESIGN

Research Field B.01

Case Study 01 B.02 Case Study 02 B.03

Technique Development B.04

Prototyping B.05

Technique Proposal B.06 Learning Outcomes B.07

CRITERIA DESIGN

B. 01

RESEARCH FIELD

http://chanhps.weebly.com/announcements/patterns-in-real 24

CRITERIA DESIGN

l-life

PATTERNING

The ideal purpose of design computation is to explore the possibility of new forms. By seeking this new possibility, a new pattern language is being formed. Patterning is one of the way to search new design opportunity. In architecture, patterning holds a momentous place in the design through its expression of repetition, order and elements. It expresses the aesthetic of sequence and logic. And one quality that patterning holds is similarities and connections still would be seen even though many changes have been done.1 Traditional architecture utilises the complexity of patterning as a complementary element to the building design, which usually called “decoration” or “ornamentation”.2 It often relates to specific reiligion and cultural symbols.

However, patterning could be understood more than as there are many undiscovered possibility. Thus, understanding how patterning behaves is crucial to produce more effecient design and construction method. And to understand it, parametric design could be used. This could be possible as patterning has its own “algorithms” which allows a set of complex systems being created. Through computer, we could understand and generate the existing algorithms or even reproduce new algorithms. Menges states that computational process could help recreating the natural norms and behaviours of patterning by using “the logics of generative computational systems that integrate material, form and performance in the design process”.3

Christopher Alexander, Sara Ishikawa and Murray Silverstein, A Pattern Language (New York: Oxford University Press, 1977). Achim Menges, “Material Computation: Higher integration in Morphophonemic Design”, Architectural Design, 82,2, pp. 14-21, p. 20. 3 Ibid, 24. 1 2

CRITERIA DESIGN

B. 02 CASE STUDY 01

http://www.azahner.com/portfolio/de-youn 26

CRITERIA DESIGN

DE YOUNG MUSEUM

Through generating computational technology, Herzog and de Meuron are succeed to redesign an old building project from its original form. Well-known with the unique facade, it consists a pattern of dimples and pores with varying radius which claded with copper panel. The design tries to mimic pattern of light shines through trees with the use of image sampling technique. So two natural trees images are depicted through two construction method, perforation and pebble extrusion.1 This technique also gives more variable and vivid effects to the pattern.

Zahner, â&#x20AC;&#x2DC;De Young Museumâ&#x20AC;&#x2122;, 2012 <http://www.azahner.com/portfolio/de-young>.

ng CRITERIA DESIGN

ITERATIONS

SPECIES 1 ORIGINAL CHANGE CIRCLE SIZES

CHANGE CIRCLE HEIGHT

SPECIES 2 IMAGE SAMPLING

SPECIES 3 EXTRUDE

EXTRUDE FIRST OVERLAYED CIRCLE

CRITERIA DESIGN

EXTRUDE SECOND OVERLAYED CIRCLE

EXTR OVERL

CHANGE CIRCLE FLAT HEIGHT

RUDE THIRD LAYED CIRCLE

CHANGE RADIUS

EXTRUDE POINT

CHANGE RADIUS + U & V VALUES

EXTRUDE CURVE

CRITERIA DESIGN

SPECIES 4 EXPRESSIONS

SIN(X)*X

2*SIN(X)

SPECIES 5 BOX MORPH

SURFACE BOX

GEOMETRY BOX

SPECIES 6 CONTOUR

CONTOUR + UNIT Y

CRITERIA DESIGN

CONTOUR + UNIT X

COS(X)*X

GEOMETRY SPHERE

UNIT X + ORIENT

SIN(X)*COS(X)

IF (X>Y, 10, 3)

GEOMETRY BOX WITTH HOLES

GEOMETRY LOFTED CURVE

CONTOUR + LOFT

CONTOUR, LOFT & EXTRUDE

CRITERIA DESIGN

SUCESSFULL OUTCOMES

IMAGE SAMPLING

EXTRUDE SECOND OVERLAYED CIRCLE

This iteration is chosen due to its three dimensional elements that being created based on the existing pattern. The form itself is interesting whilst the different heights exist in several places due to the influence of image sampling. Thus, the overall structure becomes more complex, elaborate and attractive. This technique can be useful to produce a bulgy 3d facade that has certain image based pattern.

This outcome is rather fluid comparing to previous one. It is visually attractive as the technique only relies on the extruded-flat simple 2d pattern. And unexpectedly, a volumetric convex surface can be achieved through it. This can conclude that higher level of complexity can be achieved through such a simple method. It represents the capability of computer to manipulate the outcome.

CRITERIA DESIGN

Complexity Fluidity

GEOMETRY WITH BOX HOLES

UNIT X + ORIENT

From a flat 2d pattern, box morph with hollow box based geometry is used to produce this structure. It shows how one component in grasshopper could sucessfully transform simple 2d pattern into more complex 3d form. The outcome presents somewhat a floral and curvacious form that sit softly within one another. This also shows the potential of grasshopper to mimic the appearance of nature.

Comparing to the other selection outcomes, this particular iteration has completely different form with its height. It is a lot more interesting due to the curvatures found in the form that looks lightweight. On the other side, the repition that all curves make, creates kind of enclosed walls. This also gives another impressions that coorporates the idea of mass.

CRITERIA DESIGN

http://www.azahner.com/portfolio/de-young 34

CRITERIA DESIGN

http://www.evolo.us/wp-content/uploads/2011/11/VoltaDom-1.jp

MERGING TECHNIQUE

Through considerations, I decided to merge my research field with my group partner, Catherine. In the beginning of the journal, patterning has been shown as my reseach field. However, Catherine did not persue the same field as she chose to do biomimicry. At first, I was quite hesitated to merge with her as we did not have the same background field that being explored. Yet, after throughly understand the idea of patterning from the first case study, I realised the major elements of this research field was involving repetition and unregularity. As shown from the previous section in my chosen outcomes, most of them were being transformed into completely different forms from the previous one. And at the similar time, Catherine and me

discussed about the qualities of our each fields to ensure we will not lose them after our emerging. We found that biomimicry is part of patterning due to its consistency of form repetitions. Regular and/ or unregular geometry produce the pattern. Though, patterning could not be classified as biomimicry due to biomimicryâ&#x20AC;&#x2122;s tendency to mimic the behavious of nature while patterning is more towards mimicing only the appearance.

pg CRITERIA DESIGN

W.05

PAVILION PROJECT

CRITERIA DESIGN

This project was inspired by biomimicry that my partner has as her research field. The form itself resembles a shell which is shown in the plan beside. Even though it resembles shell form, it actually was formed from several pipes that being centerly connected. So taking the quality of the video that our tutor gave us, we found that the music is quite interesting. Thus, my group had this idea of creating our pavillion its own sounds by using different materials with different sizes. This differences would be effectively used when it is raining as rainwater that falls into the surface of the pavilion will produce different sound that has different pitches and volumes. Another idea was also involving rainwater where apart from creating the different pitch and volume, this pavilion could also act as a rainwater collector. And by coorporating our site analysis into it, this pavilion could serve its propose as a shelter for pedestrian or even cyclists.

CRITERIA DESIGN

B. 03 CASE STUDY 02

CRITERIA DESIGN

ZA11 PAVILION

This pavilion was only a temporary built structure that used CNC router as the fabrication method. It was composed using timber and carefully connected with the joints. One of the aim when designing pavilion was to demonstrate the capabilities of computation in architecture.1 The form was consist of a free-form curved surface that has hexagons as the main pattern. Somehow the hexagons were shown as centerly distorted which creating an extreme angular appearance. Considering our emerging, this pavilion is a good example to depict both qualities of our each research fields. Though, the structure is more likely towards biomimicry but its hexagon pattern is also considered as the element of patterning.

Dimitrie Stefanescu, â&#x20AC;&#x153;ZA11 Pavilionâ&#x20AC;?, 2011, < http://allthatsdesign.blogspot.com.au/2011/11/za11-pavilion.html>.

CRITERIA DESIGN

REVERSE ENGINEERING

Create curves that resemble the form on rhino.

Loft the two curves to get the desirable surface.

Scale down the surface to give depth for the form.

Use hexagonal cells to create the hexagon pattern.

Then use ruled surface to loft the hexagons together. *BAKE THE HEXAGONAL CELLS AND RULED SURFACE TO GET THE OUTCOME ON RHINO

CRITERIA DESIGN

These steps were the second attempt to do the reverse engineering. As I decided to merge our research field together with Catherine, we both tried remaking this pavilion. At first, I used completely the same steps as shown beside however I was unable to loft the hexagons that I created. In the similar time, my partner was able to loft the two hexagons together by using ruled surface. And thus, we decided to use her outcome instead of mine even though my hexagonal was able to be lofted with this component as well. Our group decided to not recreate the hinges that being used to connect the structure as we are more interested exploring the distorted hexagons form that the pavilion posseses.

CRITERIA DESIGN

W.06

PAVILION PROJECT

CRITERIA DESIGN

Still having the same theme as the week before, our group designed a pavilion. We also still had the same theme that coorporating biomimicry as the main idea. Here, the form resembles jellyfish that being put within one and another. As we located this pavilion near the river, we got a comment that looks like the jellyfish coming out from the river and build their territory along the edge of the river. Our pavilion’s function only being intended for shelter and a climbing area. We also thought that the site was lacking social interaction. So regarding this pavilion, people might stop to have a look and maybe this pavilion could act as a starter of converstations. However, our tutor’s feedback made us realise that this pavilion’s function was not clear enough. We wanted to explore more upcoming possibility on how people could interact with the pavilion without losing its main purpose as a shelter. And we came out of this idea about gallery. There is potential for this pavilion of exhibit arts while the pavilion itself could be considered as the art as well. We considered to scale up the size so people could enter each jellyfish and see the exhibitions inside it.

CRITERIA DESIGN

B. 04

TECHNIQUE DEVELOPMENT

SPECIES ONE PATTERN

TRIANGLE

RANDOM QUADS

KALEIDESCOPE

DISTANCE= 1

TRIANGLE

RANDOM QUADS

SPECIES TWO KALEIDOSCOPE

SPECIES THREE DATA GRID STRUCTURE

CRITERIA DESIGN

HEXAGON

DIAMOND

SKEWED QUADS

DISTANCE= 2

DISTANCE= 3

DISTANCE= 4

HEXAGON

DIAMOND

SKEWED QUADS

CRITERIA DESIGN

SPECIES FOUR BOX MORPH

HALF CYCLINDER

BOX WITH HOLES

SPECIES FIVE IMAGE SAMPLING

EXTRUDED IMAGE

USE EXPRESSION AND RULED SURFACE

SPECIES SIX VORONOI

VORONOI

CRITERIA DESIGN

CHANGE COUNT VALUE

EXTRUDED CURVE

CHANGE Y-VALUE

CHANGE MAX FACTOR

TORUS

DOUBLE IMAGE SAMPLING

CHANGE AND U-VALUE AND Y-VALUE

BOX MORPHE WITH SURFACE BOX

DOUBLE EXPRESSION

ADDING POINT ATTRACTION

CRITERIA DESIGN

SPECIES SEVEN VORONOI 3D

VORONOI 3D

RULED SURFACE

SPECIES EIGHT SINGLE LOFT, MOVE AND EXTRUDED

TRIANGLE

RANDOM QUADS

SPECIES NINE QUALEA

HEXAGON

DIAMOND

SPECIES TEN DATA GRID STRUCTURE

ONE BASE PLANE

CRITERIA DESIGN

TWO BASE PLA

ANE

PIPE

SKEWED QUADS

RANDOM QUAD PANELS

THREE BASE PLANE

VORONOI 3D + PIPE

DIAMOND

TRIANGLE PANELS

ADDING CIRCLE AND FLIP

OFFSET + MOVE

HEXAGON

SKEWED QUAD

ADDING CONE

CRITERIA DESIGN

SUCESSFULL OUTCOMES

ADDING POINT ATTRACTION

PIPE

The structure is relatively unique due to the effects that point attractor gives. Proper and polite manners that the distorted hexagons of ZA11, has slightly transformed into these unregular arranged. My partner is interested with this pattern as her research field is more into exploring unregularity patternisaton in the nature. And somewhat, this pattern resembles cheetah print. The pattern would be continuely investegated through fabrication process to ensure it is workable as an 3D model.

Different from the previous structure, this outcome allows self-support to occur due to the frames that being created from the pipe form. Its pipes also create their own pattern based on voronoi form that grasshopper has. Our group decided to stick with voronoi as our main pattern as it fully describes our merging fields, biomimicry and patterning. So, we intended to furtherly explore the structure as this form has the highest potential to be carried further to the next design proposal.

CRITERIA DESIGN

Complexity Fluidity Light

HEXAGON

From the initial form that has distorted hexagons elements, this interation had been transformed into a completely different one. It is harsh and cruel at the same time. The way each surfaces intersect to each other leaves this impressions to be seen. Our group found this iteration is succeed among the others as it shows how grasshopper has no boundary in creating a high complexity form. However, this iteration would be carried further as the complexity restricts us to fabricate it.

ADDING CONE Judging from the appearance of this outcome, it does not describe any complexity, fluidity and gives light purposes on it. Also, it is not a visually-pleasant object, yet we found this very interesting. It is particulary chosen due to the whole new outcome that grasshopper produced from the previous iteration. It fascinates us how grasshopper could throughly change an object with only one different component Though, we intended to not fabricate this particular iteration.

CRITERIA DESIGN

W.07

BUILDING PROJECT

CRITERIA DESIGN

THE UNSEEN

CRITERIA DESIGN

The quality that we took from writtings about Zora was how people could make new memories and its unforgetable. This building was designed based on the idea of being visible and invisible at the same time. As the building would have completely glass facade that wraps entire surface, it will enhance the interpretation of the invisible idea. The aim is to creating different experience and memories for the users while they are seeing the building. Moreover, this building was also inspired by Mies van der Roheâ&#x20AC;&#x2122;s glass skyscraper which was a bold and radical proposal at that time.

CRITERIA DESIGN

HTTPS://MAIL.GOOGLE.COM/MAIL/U/0/?UI=2&IK=C3ACB1D4B5&VIEW=FIMG&TH=15E8041AFBC28B2F&ATTID=0.1&DISP=EMB&REALATTID=II_15E8041984B6DA38&ATTBID=ANGJDJ-OIPA5RH_YBPL9Z2_FX PY_C9PFNMESRNZFQP-VWYXYBYIXU6X-GEQV9YZODFZFHBRI6EV0GH2RCUFVNP_JYQZ3JE0-I&SZ=W788-H788&ATS=1505390351009&RM=15E8041AFBC28B2F&ZW&ATSH=1

B. 05 PROTOTYPING

FIRST ATTEMPT

The first attempt was focusing more into how our group could fabricate a pattern that being used as the facade and being supported by several coloumns that also could act as light sources. We chose to fabricate it through laser cutting and used ivory card as the material as it gives more flexibility to fold. Each coloumns had tabs to create a 3d structure. After the attempt to fabricate it, we considered this attempt as a failure. The material that we used was too thin so it could not hold the whole structure. As shown in the photo, the prototype lines are too thin and easily being ripped apart. However, this failed attempt also brings a benefit for us as we discovered that laser cutting allows us to fabricate a very detail prototype.

CRITERIA DESIGN

DIQHLECZJB7LIQHKWEYKBYCCVNBQS-

SECOND ATTEMPT

The second attempt was slightlt different from the previous one as we wanted to discover the self-supporting system. We still used the same technique of laser cutting and used the same material as well. Even though we knew from the previous attempt ivory card is too thin for our prototype but we considered this material is the best option to be folded. In this attempt, we fabricated only the voronoi pattern and used the same technique of tabs to connect them together. Unfortunetely, we failed this second one as the model could not hold its own structure. Even some of the connections could not fully attach to the others as we also tried to bend it. At last, they started to ripped apart which relatively the same result as the previous attempt.

CRITERIA DESIGN

B. 06.1 SITE ANALYSIS

When we visited Merri Creek, we found that the place is well-shaded due to the existing vegetation around the area. The site was felt relatively cold comparing to its surroundings that mostly uban area. We realised most of the circulation only circulates around the pathway where exist beside Yarra river. As there is only one pathway, its also being used for two directions. There is no such boundary for pedestrian path as well as for cyclistâ&#x20AC;&#x2122;s. And thus, we found this quite troublesome as it could restrict both pedestrian and cyclists access.

CRITERIA DESIGN

SITE DIAGRAM

SUN PATH

CIRCULATION

VEGETATION

RIVER

CRITERIA DESIGN

B. 06.2

TECHNIQUE PROPOSAL

CRITERIA DESIGN

CONSPICIOUS

â&#x20AC;&#x2DC;CONSPICIOUS'

CRITERIA DESIGN

DESIGN APPLIED

WHAT? In this part, our group is proposing a path that targets pedestrian to be the main users. The form can be adadaptable to the surroundings environment. Mostly, it will follow the contour and main circulation of the site. In terms of sizing, our project will not have a gigantic size but more towards linear as it will act as a ‘bridge’ for the pedestrian. This also allows pedestrian to experience the beauty of Merri Creek without being disturbed by cyclists.

WHY? This proposed design is relatively connected to our previous projects in the pin-up sessions. Previously, we addressed about the problem of pedestrian in accessing the pathways due to the large amount of cyclists that pass by around the area. And this also could lead to the potentials of accident occurence. Moreover, we found that there is a school around the area, which means the potential of children playing around is quite high. Thus, our group is hoping that the project that we designed, could minimise this potential issue.

HOW? The design itself is rather creating separation for pedestrian and cyclists. Focusing on the site analysis, our group tried to integrate all the elements of sun path, circulation and vegetation into the main considerations in designing the project. The most obvious one is its form where follows the main circulation of the site. And even though we tried to apply this idea of ‘separation’ into the purpose of our design, the decision that we made to follow the arrangement of the pathways also could possibly minimise the different experience that the users could have. This could be affected from the different heights that our project and the main path have. Another consideration that we have involves the materials. We decided to choose material that has transparency to allow sun penetrates the main path without being blocked by our proposed design. Yet, we still considered using steel as the main support for the structure.

CRITERIA DESIGN

EXPLODED DIAGRAM

CONNECTING BIOMIMICRY AND PATTERNING The aim of this part is to colliding our techniques from each research fields have. As mentions in the previous part, the two research fields are similar but also different in same ways. By taking overlapped ideas that they have and tried connecting them together are the main purpose of this project. We took biomimicry elements and applied it into this project through the adaptable quality that it has towards environment. This allows the project to be extendable and not only being restricted by our chosen site. It gives more flexibility to extend the project into more broader area and context. Patterning quality is seen as the repetition of elements and project fully reflects it. As shown on the diagram above, the project consists of repetition of single surface and only use the frames to connect them together.

CRITERIA DESIGN

In the previous pin-up sessions, our group addressed about the issue that we experienced during the site visit. It was difficult for us to stand for long time in a one place where several joggers and cyclists were exercising around the area. Regarding to this experience, we tried to design pavilions that could act as a shelter. We thought that this idea could minimise the issue of pedestrian disturbance. There is possibility that it might work but we realised that we did not directly solve the issue. So, this project also being insipired by our failures as we wanted to design more meaningful and useful design for the users.

CRITERIA DESIGN

W.08

PAVILION PROJECT

CRITERIA DESIGN

The idea behind this pavilion was reinterpreting freedom that usually birds being symbolised of. Our groupâ&#x20AC;&#x2122;s chosen bird was Splendid Fairywren. They consider as small birds that are not strong fliers. After doing some research, we realised the number of these birds is decreasing every year due to human occupation which forces clearing their habitat. Thus, we intended to design the pavilion for birds to live in. Also, we were hoping that it could be a recretional place for children. However, the interim feedbacks that we received was stating that we as architects could not fully believe that our intended purposes when designing the building would become the actual building function. Such prediction is ambiguous and could be different in reality. Being able to merge a place for birds to live in and human recretional place was extremely difficult as they tend to disconnect to each others. So our group decided to step back to find what we could do regarding to our unsucessful attempt in proposing the ideas. Considering the interim feedbacks, being able to complete them has become another challenge for us.

CRITERIA DESIGN

B. 07

LEARNING OUTCOMES

Part B was a long process comparing to the previous part. I found that the research field helps me to develop my understanding about patternisation. The place where I came from was famous with its local pattern textile that is called “batik”. And my research field reminds me to those particular patterns. With the introduction of plug-in in grasshopper, lectures and studios, I make a better understanding on how construct patterning design. Interestingly, it is not only restricted to a 2d ornament but also 3d’s. I found that my decision in merging my research field with Catherine was really helpful during the design process. Apart it reduced our workload, we were able to discuss and share our ideas. This was really exciting, especially when we realised that my research field and hers were having overlapped elements. It intrigued me to find out more what other

CRITERIA DESIGN

similarity or even differences that we could discover during the process. Indeed, several failures were occurred when we tried to explore new grasshopper plug-in as well as in doing the fabrication. And “sometimes, you have to make a big mistakes to figure out how to make things right, mistakes are painful they are the only way to find out the reality”. The quote really reflects my experience in the interim presention. We were not throughly addressed our chosen bird’s quality and did not consider how to merge a public space for human with a space for birds to live in. Due to this ‘failure’, we were able to identify what we are lacking and find solution to solve it. Even though we received more workload due to the pin-up session that we

do every week, I found that this session carries the biggest possibility to learn stuff in architecture. Not only designing building but also understand what could possibly exist beyond it.

CRITERIA DESIGN

“EVERY EXERC HAS TO B AS YOUR

CRITERIA DESIGN

CISE THAT I SET BE SEEN R LAST” -JULIUS EGAN

CRITERIA DESIGN

APPENDIX

The colonnade of the VCCC building by McBride Charles Ryan

CRITERIA DESIGN

The interior of the NGV Australia in Federation Square by LAB

CRITERIA DESIGN

DETAILED DESIGN

CRITERIA DESIGN

Finding Design Concept C.01

Tectonic Elements & Prototypes C.02 Final detail model C.03

Learning Objectives & Outcomes C.04

CRITERIA DESIGN

W.08 C.01.1

PAVILION PROJECT FINDING DESIGN CONCEPT

CRITERIA DESIGN

After all the considerations, our group decided to change our chosen bird into Wedge-tail Eagle. And learning from the previous project, especially in this one, we wanted to fully understand what is the specific behaviour of the bird. From all videos and articles that we found, the bird showing that they are really aggressive, powerful and territorial. Those three behaviours have triggered our ideas to design this project.

PLAN

The bulding shows its aggressiveness from the sharp edges that being exposed all over the facade. Also, to convey the idea of territorial, this building is specifically located near the bridge and from specific angle -which in this case in section -feels like the building is eating the bridge and all trains that passing by. It also shows that this building wants to mark its own territorial area.

CRITERIA DESIGN

When we thought about powerful building, my group mate was come up with a church. Somehow both of us agreed that church has a poweful force that could drive people’s thoughts and feelings. This clearly shows in our project, where it has the power to alter people’s feeling with its high ceilings. It will make people feels small as the building has more power towards them. Also, the edges that exist in the interior of the building could ‘forcing’ the users to be in the middle of the space. Its like the building also wants to control their actions. However, from the feedback that we received from class, they mentioned that this building could also be a place for worship. As the building brings tranquility, solemn and calming atmosphere for the users. We considered this feedback as this idea expresses our purpose to create a space for social equity.

If we call this building a church, its like specifically labeled it for the Christians -though people with other religions could enter it but its more the building specifically created for only Christians. Calling this building a place for worship, will remove the label as it is freely open for all people from different ages, races, religions, etc.

“No label, no separations”

ELEVATION 88

CRITERIA DESIGN

PROGRESS

Complexity

CRITERIA DESIGN

PERSPECTIVE CRITERIA DESIGN

CRITERIA DESIGN

INTERIOR CRITERIA DESIGN

INTERIM FEEDBACKS

CRITERIA DESIGN

C.01.2

FINDING DESIGN CONCEPT

CRITERIA DESIGN

The previous project talked about how we could interpret the quality of the bird, which is territorial, in architectural ways. In this project, we wanted to pursue this quality further by applying it to human directly. Another idea that we wanted to carry further to this project was social equality. It explains the reason on how we chose the building function of this building -which is a bunker. The form was made by mimicing the contour of the site so it can blend well with its surroundings. This idea is also similar to the idea that we wanted to emphasise when people enter our building. We wanted them to feel sense of belongings and have less differences towards each others.

PLAN

CRITERIA DESIGN

100

CRITERIA DESIGN

SECTION

In terms of the geometry, we found when googling some bunkers images that almost all of them have the strereotyped-rectangle-shape. So here, we wanted to challenge the idea that bunker also can be â&#x20AC;&#x2DC;much more than rigid boxâ&#x20AC;&#x2122;. It explains how we arrived with this complex and unregular geometry with some sharpd edges. However, we realised that maybe this building also can be used as a sitting area where people could interact to each others. Previous project was more like it is the predator where it wanted to eat its surroundings. Though, this project is the opposite of our previous one. We interpret the predator was the nature and our building was being used to protect the users from it.

CRITERIA DESIGN

101

PERSPECTIVE

102

CRITERIA DESIGN

103

Our group was really satisfied with the results of the Week 11â&#x20AC;&#x2122;s presentation so we decided to use the same geometry and more pursue the ideas to which aspects that we need to change or improve. We used the same script as before and alter the based-shape according to our understanding regarding the diagram that we came up with.

C.02.1

FINAL DESIGN CONCEPT

104

CRITERIA DESIGN

PLAN

CRITERIA DESIGN

105

DESIGN CONCEPT

106

CRITERIA DESIGN

Our group chose Wedge-tailed Eage as our chosen bird and found that aggressive and territorial was their behaviours. These behaviours occur as they want to protect food in their area as food is source of life. Relating to the site, Merri Creek also needs food to keep the area alive. And we decided movement was the food for Merri Creek. These movements were divided into four main elements, which was site users like joggers and cyclists, train line, river and residential. And the four elements are connected to one source, nature. Though, we realised there is another possibility that the four components could have different source. This can be concluded that our client was Merri Creek itself.

CRITERIA DESIGN

107

As being mentioned previously, activities happening around Merri Creek is the key esssentials to keep it alive. Our main purpose of our pavilion was to unify and enchance the interaction between the four elements rather than keeping them seperately -that actually my group did in the beginning of the pin-up sessions. For the residential, this kind of form will allow sunlight to be reflected and hit the residential area as to mark its territorial. This also could allow the sunlight to penetrate through the area as we realised the trees around Merri Creek block the sunlight.

108

CRITERIA DESIGN

Relating to the river, the sitting area would be alternated its seating position based on the water cycle where everything will come back as a cycle. While the timing for the seating changed, would be marked by trains. Everytime the trains pass by, the seating position would be moved. Users would be the one that experiences these interaction between the four elements.

ELEVATIONS

CRITERIA DESIGN

109

PERSPECTIVE 110

CRITERIA DESIGN

In terms of the building function, this building could be used as a fragment of stadium. This particular building usually has such standard seating area where in our building, we wanted to challenge that seating area could also be stylish, We found that each of the elements looked simple because it is common for train lines, residential, river and site users in another sites. However, when we tried to let them interacting to each others, they become much more complex than what they seem like. This reflects our project, clearly distinghuisable from our previous work, which had the same script and reference, though in this project we could do a more complex design by only integrating the elements that Merri Creek provided.

CRITERIA DESIGN

111

112

CRITERIA DESIGN

SECTION

CRITERIA DESIGN

113

C.02.2 FABRICATION

114

CRITERIA DESIGN

115

1 3

116

CRITERIA DESIGN

In the first attempt in Part B, our group tried to work with Ivory Card and thought that it is sucessful. So, in this final fabrication, we also used the same material, yet still try to explore another material to test which one is the best one. We also tried to use Polyprolyne as we thought could give our prototype more flexibility comparing to Ivory Card that is more rigid. Same as before, we used Pt Tabs to each segments of the prototype and glued them together. However, when we tried to glue the Polyproplyne, it was not working as the materiality was stronger than Ivory Card -which makes it hard to bend. As seen in the step 4, the connection broke so we decided to swith out the equipment, which is using strapler. We realised it was not the best option to use but it was still working.

CRITERIA DESIGN

117

7 118

CRITERIA DESIGN

119

C.03.1

FINAL DETAIL MODEL

120

CRITERIA DESIGN

121

C.03.2

FINAL DETAIL MODEL

122

CRITERIA DESIGN

123

FINAL FEEDBACKS

124

CRITERIA DESIGN

125

C.04

LEARNING OBJECTIVES

126

CRITERIA DESIGN

Comparing to Part B that was more our attempts to adapt and understand how actually our class works, in this Part C, we were able to work on the progress that we made while also finding our main ideas. I felt in this part, we were more ready and settled than before as we finally understood what we were lacked of and learnt from it. Clearly, it was not easy for us to find one clear idea as we both had so many ideas revolving around our heads. This really reflects on our final design where we threw a bunch of ideas and could not settle on only one. I could say this is one of our groupâ&#x20AC;&#x2122;s strength where we seeked and found the ideas then tried to test which one has more possibility to be applied on. After finished our last class, I realised this class was really different comparing to the others. As our tutor said, â&#x20AC;&#x153;There is no right or wrong answersâ&#x20AC;?

and at first I did not understand what he means. Because what I always knew that we as a society create such standard that determines what is right or wrong. And now I understand what his class tried to teach us where he wants us to push our boundaries and sees there is another possibility beyond it. Because those standards only limit our way to achieve new ideas. Architecture always has certain standard that people follow -though I realised those standards could change over time. This class has taught me to challenge those standards or even create our own. I believe due to this class, I was able to fully expressing myself and my ideas without any hesitations.

CRITERIA DESIGN

127

REFERENCES

Anthony Dune and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreamig, (Cambridge,

Achim Menges, “Material Computation: Higher integration in Morphophonemic Design”, Archite

Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spoon P

Christopher Alexander, Sara Ishikawa and Murray Silverstein, A Pattern Language (New York: Oxfo

Dimitrie Stefanescu, “ZA11 Pavilion”, 2011, < http://allthatsdesign.blogspot.com.au/2011/11/za1

Georges Restaurant’, Jakob+Macfarlane < http://www.jakobmacfarlane.com/en/project/georges-restaura ’Hygroskin’, Achim Menges < http://www.achimmenges.net/?p=5612>. Peters Brady, Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83,2, p.13. ‘Research Pavilion 2011’, ICD/ITKE < http://icd.uni-stuttgart.de/?p=6553>.

Rivka Oxman and Robert Oxman, eds, Theories of the Digital in Architecture (London; New York; Routledg ‘Smart Masonry’, ZA Architects < http://www.zaarchitects.com/en/public/125-smart-masonry.html>. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 10. Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design Zahner, ‘De Young Museum’, 2012 <http://www.azahner.com/portfolio/de-young>.x

128

CRITERIA DESIGN

MA: MIT Press, 2013), p. 44.

ectural Design, 82,2, pp. 14-21, p. 20.

Press, 2003), p. 10.

ord University Press, 1977).

11-pavilion.html>.

ant/>.

ge, 2014), pp. 7.

(Cambridge, MA: MIT Press), p. 16.

CRITERIA DESIGN

129