Humardani_Jesslyn_765837_FinalJournal by Jesslyn Humardani

SEMESTER 2 // 2 0 1 7

STUDIO AIR JOURNAL

URBAN CORAL FACADE

2 0

JESSLYN HUMARDANI TUTOR: MEHRNOUSH LATIFI

ARHCHITECTURE DESIGN STUDIO

TABLE OF CONTENTS 0.0 ¦ INTRODUCTION A¦ CONSEPTUALISATION A. 1

Design Futuring

A. 2

Design Computation

A. 3

Composition to Generation

A. 4

Conclusion

A. 5

Learning Outcomes

Bibliography & Image References A. 6

Appendix: Algorithmic Sketchbook

B¦ CRITERIA DESIGN B. 1

Research Field

B. 2

Case Study 1.0

B. 3

Case Study 2.0 : Reverse Engineering

B. 4

Technique: Development

B. 5

Technique: Prototype

B. 6

Design Proposal

B. 7

Learning Objectives and Outcomes

Bibliography & Image References B. 8

Appendix: Algorithmic Sketchbook

C¦ DETAILED DESIGN C. 1

Design Concept

C. 2

Tectonic Elements & Prototype

C. 3

Final Model

Bibliography & Image References C. 4

Learning Objectives and Outcomes

0.0 INTRODUCTION

My name is Jesslyn Humardani, Jess for short. I am a 3rd year architecture student under Bachelors of Environments in University of

Melbourne. Born and raised in Jakarta, Indonesia, where I ﬁnished

high school in 2015. Afterwards, I continued to pursue further studies in University of Melbourne.

Architecture for me, is a very broad and rich platform. There are so

many approaches one can take in order to manipulate space. As a

designer, I believe that a good design requires a motive or reason-

ing behind it, not simply doing things for the sake of its aesthetics. These motives and reasons may be raised from many diﬀerent issues, may it be social, cultural, environmental or political.

Through my studies in university, I was presented with many diﬀerent architectural approaches. I ﬁnd it unique and interesting how

architecture is a mixture of both rationality and subjectivity. It requires technical abilities, yet it is also driven by the personal or narrative qualities. I learned how to develop a concept both pragmatically and imaginatively, keeping in mind its impacts to the users.

Prior to Studio: Air, I have experience in using Adobe Softwares

such as: Photoshop, Illustrator and InDesign, as well as Autodesk Rhino and AutoCAD. This studio would be an opportunity for me to plant a new skill that will help me understand more about the capabilities that can be achieved in the architectural industry.

I believe that computational design is part of the future of architec-

ture. It will help create architecture that was not achievable before. Then again, similar with any kinds of technology, it comes with a limit. It is to aid with designing, but should not be relied upon fully.

I am still wondering if computational design may even limit design potential even more, and is hoping to ﬁnd the answer from this studio.

TOP: Studio EARTH - Secret Passage BOTTOM: Studio EARTH - Towards the Underground

CONCEPTU

UALISATION

A.1

DESIGN FUTURING 8

We all design , said Tony Fry.1 Designing is a human ability that allows us to think what we want to create before the act of creation itself.2 This includes the design process in architectural practice. In architecture, one factor taken into consideration during designing is its impact towards the future or how the future would aﬀect the design. All design to some extent is future oriented. 3We try to speculate what the future holds. Nevertheless, with the current situtation, whether a future will exist or not becomes questionable.

As the world keeps on evolving, human mindset should start evolving. We keep on growing in numbers, and using the current and conventional design methods could lead us to a defuturing path of unsustainability.6 In order to slow down the rate of defuturing, the process of designing should develop in conjunction with the development of technology. Instead of using technology to extract materials and depleting resources, it should be used to rectify the damages created by anthropocentric practices.

Living in the present time with the modern life practices would be pose threat to the future. This is due to our anthropocentric habits that treats earth as an infinite resource, which in reality is proven to be otherwise. We are finite beings living in a finite world.

Now, as technology and resources is easily attained, this can be used to better understand the present and have a better study of the possible future. It is a matter of choice whether we want to stay using conventional or orthodox methods or make use of the available digital means to speculate a possible future and create rectiﬁcations.

Human ideologies and values needs to be changed. The human mindset plays a huge role in the fate of our future. Design intelligence is a crucial element that needs to be embedded to the mindset. Through the use of design intelligence, people would be able to make sound and logical judgements of actions that could improve or worsen the futuring potential.4 Revisiting the past can help us develop new methods that would be appropriate for our current conditions and help us see what the possible, plausible and probable future holds.5 1 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p.2. 2 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p.2. 3 Anthony Dunne and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming, (Cambridge, MA: MIT Press, 2013), p. 3 4 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p.12. 5 Anthony Dunne and Fiona Raby, Speculative Every-

thing: Design Fiction, and Social Dreaming, (Cambridge, MA: MIT Press, 2013), p. 9 6 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p.1.

TOP: Aerial view of part of the building BOTTOM: Diagram of water connection and vegetation

VERTICAL FOREST STEFANO BOERI ARCHITETTI Milan, Italy 2014

In a metropolitan city, having high rise towers is one of the best solutions to beneďŹ t from the limited area of land. They can contain large volumes of people. Nevertheless, this very anthropocentric and conventional method of creating more spaces for people is highly unsustainable. Instead of completely eliminating the modern practices, Boeri Architects have created a solution to mitigate the consequences caused by it.

By using technology and further studies, they calculated the irrigation requirements by analyzing the climatic charactersitics on each facade and level in order to determine the distribution of vegetation on each ďŹ&#x201A;oor.3 Having deep evaluations of the present surroundings using the available technologies helps them to create a strategic solution to existing methodologies, while still being innovative.

Vertical Forest in Milan is a model of a sustainable residential building, with the aim of regenerating the environment and urban biodiversity without having the need to expand the city s area. The Vertical Forest in Milan specifally, consists of two residential towers that hosts 900 trees with over 20000 plants diversity.1 This built project can also create a vertical environment that is home to birds and insects, improving the lives of animals and biodiversity.2

It is interesting how humans and technology can rapidly amplify the process of defuturing, but at the same time, it is also part of the solution that could help slow down the rate to facing ďŹ nitude. This proves that as now technology is easily attainable, as long as human ideologies starts to change, it is not impossible to move away from the pathway of unsustainability.

1 Bosco Verticale by Boeri Studio, Archdaily (2015) <http://www.archdaily.com/777498/bosco-verticale-stefanoboeri-architetti> [accessed 1 August 2017] 2 Ibid.

Ibid.

TOP: Front view / Entrance BOTTOM: Shell/ Enclosure

LANDESGARTENSCHAU EXHIBITION HALL ICD, ITKE, & IIGS Stuttgart, Germany 2014

The Landesgartenschau Exhibition Hall is a prototype building constructed of lightweight timber. It is a biomimetic design based on the system of the sea urchin skeleton.1 This innovation is a unique collaboration between traditional and modern technology. Timber is usually used in residential and conventional constructions, and for this particular project, the choice of timber is driven by the fact that it is highly resource eﬃcient and a locally available material.

With the help of technology the most optimized forms, in terms of load bearing capacity and usage of material, of the plates can be found. The fabrication was then completed by using robotics. Insulation, waterprooﬁng, cladding and even the joint connections between plates were fabricated by using robotic fabrication setup.3

By using computational design, fabrication, simulation and surveying methods, they were able to create a load bearing timber plates while being only 50mm thin.2 Proving how traditional materials can offer an entirely new fields of application and design possibilities. They were trying to create the most resource efficient fabrication method.

By using the robotic fabriction setup, a more accurate and uniform production can be assured. This project is an interesting radical approach that proves that this particular humble material, can and may be the future of designing for the future. The fact that the project itself is a research prototype, proves that it is in fact speculative design. It searches for the possible optimal sustainable solution to face a probable defuturing. Designing this prototype shows a form of speculative critical thinking in order to face the speculated future.

1 Landesgartenschau Exhibition Hall, Archdaily, (2014) <http://www.archdaily.com/520897/landesgartenschau-exhibition-hall-icd-itke-iigs-university-of-stuttgart> [accessed 1 August 2017] 2 Ibid.

Ibid.

ICD-ITKE 2013-14 Research Pavilion Design Process

A.2

DESIGN COMPUTATION 14

Over the past 50 years, research directed towards Computer Aided Design (CAD) has been done extensively. In order to assisst human designers, CAD systems are constantly in the process of development. Varying levels of assistance are provided by computational systems. Its contribution to the design process ranges from small to large portion, from drafting and modeling to analytical support to a system that can actually create design solutions. 1This system has affected the practice of architecture significantly. Human-computer relationship can be distinguished into two main branch: computerisation and computation. Computerisation is a process where the computer acts as a tool to help visualize or realise ideas of human designers with an end goal in mind. This visualization becomes a medium of communication from the architect to other participants of the design process.2 Computation, on the other hand, is when computers are able to process information in the form of algorithms, and provide variations of solutions or alternatives, largely affecting the design process. Computational digital tools aslo allow for an analysis of performance-based issues. They are able to provide more accurate evaluations of a design (e.g. energy, acoustics, cost, structural performance, etc.), ensuring the creation of sustainable design with efficient use of energy and resources while being optimal structurally.3 This answers to the critics raised by Frampton, who believes that the new technology disregards the tectonic expressions.4 It is true, using computers, we are able to improve in the accuracy in a radical or logical process. However, is complete reliance towards computer enough when designing? The designing process, as mentioned by Kalay, a powerful symbiotic design system comes from the in1 Yehuda E Kalay, Architecture s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p.4. 2 Yehuda E Kalay, Architecture s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p. 12. 3 Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 4. 4 Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 6.

tegration of computer s superb rational abilities and humans creative and intuitive qualities, 5 working togethere in areas where each of them are lacking in. In this case, I agree with Peter s idea of how human-computer relationship should be an integrated art form, instead of being an isolated craft.6 If the designing process is fully dependent on computation, the design objectives could be obscured and diverted from its original intentions.7 In addition to humans, inputing knowledge retrieved from nature is a powerful tool to support computational designing. Nature itself is one of the best designers. Only by evaluating the pattern and principles of nature, can we start creating solutions for the current environmental issues. Understanding nature, as Oxman mentioned, is an important process in order to be able to potentially create a second nature .8 Personally, I do think that as the world rapidly develops, the shift towards computational design is an effective way of dealing with the issues faced in the current era, may it be environmental, economical, political, social or so forth. Then again, in order to achieve the optimum design or benefits of the Vitruvian Effect 9, humans should still have input and control of the designing process. Adding to the two, I believe that understanding nature is very important. Studying the patterns and principles of nature thoroughly allows the maximization of understanding performance-based analysis. These following precedents will show architectural works where integration between humanistic qualities, computational abilities and nature can be seen to reach an optimum effect. 5 Yehuda E Kalay, Architecture s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p. 3. 6 Brady Peters, Computation Works: The Building of Algorithmic TThought, in Special Issue: Computation Works: The building of Algorithmic Thought, Architectural Design, Volume 83, Issue 2, (2013), p. 15. 7 Brady Peters, Computation Works: The Building of Algorithmic TThought, in Special Issue: Computation Works: The building of Algorithmic Thought, Architectural Design, Volume 83, Issue 2, (2013), p. 15. 8 Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 6. 9 Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 1.

RIGHT: Diﬀerentiation: Connections between diﬀerent elements

AS AUTUMN LEAVES LCD

Beijing, China 2013

Nature has been one of the most richest source of inspiration and knowledge to human kind, and it is no exception to the installation As Autumn Leaves . It is designed and built by the students of Laboratory of Computational Design (LCD) for Beijing s 2013 Design Week. They underlying concept of the installation is to visualize the ephermerality of nature. Students try to evoke nostalgic qualities through the change in seasons: as autumn transcends to winter, and trees start shedding their leaves, symbolizing the passage of time. A very intriguing quality of this project is the idea of integrating the emotive, intuitive qualities of humans and the rational, accurate properties of the computers. They used computational design to provide solution and variations during their design process. This is done by ďŹ rst studying the geometric growth patterns of trees, and from this information, they were able to discover the range of variations and adaptabilities of the system. These variations, in conjunction with parametric design tools, helped them to determine the positions of each element based on their ease of assembly. As mentioned before, computational design tools can be utilized to do performance-based appraisals. The students of LCD used physics-based modeling programs to evaluate the gravitational and wind forces that may act upon the installation.

Even with the heavy reliance towards CAD tools, this particular installation proves that currently, the computer s rational abilities is not enough to create an optimal design, as the goal of this installation is to evoke emotive and ephemeral human sensations through reference to nature. Although the design is accurately design and built by the use of computational design and fabrication, LCD founder and tutor Daniel Gillen stated that the experience is far more important than the image. 1 The usage of computational design at this point is to study the structure, and that human designers are still needed to ensure that the experience they want others to feel can be translated. As Kalay mentioned, when humans are approached with complex problems or large amount of data and numbers, we tend to make mistakes, and at this is exactly where computers surpass us.2 Thus, it is not wrong to depend on them at this point. Nevertheless, human creativity and intuition is still needed to create depth to a design, either in the beginning or towards the end of a design process.

1 LCD Exhibits As Autumn Leaves At Beijing s 2013 Design Week , Archdaily, 2013 <http://www.archdaily. com/451572/lcd-exhibits-as-autumn-leaves-at-beijing-s2013-design-week> [accessed 11 August 2017] 2 Ibid.

RESEARCH PAVILION ICD & ITKE

Stuttgart, Germany 2013-14

Similar to As Autumn Leaves , the 2013-14 Research Pavilion, designed and built by ICD & ITKE, refers to the nature in their work, as it focuses on biomimetic design. They aim to develop a lightweight structure, through the use of modular elements, which they believed will reduce the number of required formwork, while still being able to attain geometric freedom. Their research is heavily focused on reaching an a degree of structural optimality. In cooperation with the Intitute of Evolution and Ecology and Paleobiology department of the University of Tubingen, they analyzed the protective shell of beetle s wings to create a natural lightweight structure. They investigated that the beetle s wings can be used as a reference to design a highly material efficient construction. Through studies comparing different types of flying beetle species, structural principles, patterns and variations could be identified and is then interpreted into design rules. They extracted the idea of using a double-layered system and the mechanical properties of natural fiber.1

chosen due to the abilit of the carbon fibers to be differentiated for each panels, by placing the fiber in different variations. The pavilion has a total of 36 different panels. Each of them answers to different load-bearing quantities due to the different individual fiber layout. This makes the system more efficient as it only uses material in areas where needed. In addition, due to its modular quality, the overall pavilion can react to site-specific conditions. Its morphological quality allows for an adaptable system. 2

I ﬁnd this project a close interpretation to Oxman s statement, of how natural design is more than about imitating the organic appearance, but learning their patterns, principles and their production process. By learning these qualities, only then, can we answer the issue of the environmental conditions. Harvesting knowledge from nature, especially regarding materiality and fabrication process is one of the ways for us to potentially create a sustainable and improved second nature.

Glass and carbon ﬁbers were used as materials due to their high stength to weight ratio, which means they are able to have high performance qualities. They are also 1 ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University Of Stuttgart , Archdaily, 2013 <http://www.archdaily. com/522408/icd-itke-research-pavilion-2015-icd-itke-universityof-stuttgart> [accessed 11 August 2017]

2 Ibid.

Galaxy SOHO by Zaha Hadid Architects

A.3

COMPOSITION TO GENERATION 20

Ideologies in architecture is an ever-changing system. With the advancement of technology and computational design, a prominent shift in architectural practice can be seen. A change from a time where composition was the focus of architecture, to a time where generation becomes a huge part of the solution to architectural issues. As Brady Peters stated, we are moving from an era where architects use software to one where they create software. In the past, symmetry was deemed as the preferred architectural composition. Architectural composition was governed by sets of rules that acts as a norm during the time.1 However, its unequivocal nature that does not allow room for arguments makes this rule-based design ideology questionable.2 It is a top-down process, which reduces the opportunity of reaching an optimum design that responds well with the surrounding. It could be hard to adapt to situations which are complex and diverse as the sets of rules may become restrictive. With realization to this problem, architecture starts to move towards computational or generative architecture. Human designers are now partners and on the same level as computers to work together and ﬁnd a solution. Generative design has the ability of solving complex problems in a bottom-up manner. By setting and modifying algorithms, these computational design tools can generate numerous permutations of a solution. These algorithimic parameters can be based on diﬀerent factors, such as performance-based issue, environmental issue, material issues, or others.3 From the various solution 1 Yehuda E Kalay, Architecture s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p.4. 2 Brady Peters, Computation Works: The Building of Algorithmic TThought, in Special Issue: Computation Works: The building of Algorithmic Thought, Architectural Design, Volume 83, Issue 2, (2013), p. 10. 3 Brady Peters, Computation Works: The Building of Algorithmic TThought, in Special Issue: Computation Works: The

generated, the best and optimal option will be chosen. This means that this particular solution is generated to specifically answer the existing issues, therefore providing relevant solutions to the matter at hand. Furthermore, computational tools allows the creation complex and intriguing forms, but with increased efficiency and improved performance.4 However, before creating these forms, designers must understand the information and translate it into algorithms. These algorithms should be made up of operations that are definite and effective in order for computers to understand. Traditional compositioning has fixed sets of rules that act as the definite and only solution, while computational design methods generates different solutions to different algorithms. We know that traditional compositioning methods can sometimes become restrictive due to its definite rule-based methods. Yet, variations or iterations created by computational design tools are based on parameters and algorithms, which are essentially sets of rules. Does this mean computational design methods are actually restricting creativity and design outputs of human designers too? To an extent, it does. Personally I think, using computational design would mean that humans set the algorithm and is presented with numerous amounts of variations, and they simply have choose a solution based on the results generated.5 This becomes a limit and raises questions on the future role of architects as designers. building of Algorithmic Thought, Architectural Design, Volume 83, Issue 2, (2013), p. 13. 4 Brady Peters, Computation Works: The Building of Algorithmic TThought, in Special Issue: Computation Works: The building of Algorithmic Thought, Architectural Design, Volume 83, Issue 2, (2013), p. 15. 5 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p.2.

ELBPHILHARMONIE HERZOG & DE MEURON Hamburg, Germany 2016

After 16 years of planning and construction, the multifunctional building complex has finally opened in 2016. It houses a chamber music hall, philharmonic hall, restaurants and bars. The heart of this complex is its concert hall. Parametric design was used in order to determine the shape of the 10000 ivory and coral-like fiber acoustic panels. Each panel has a unique shape in order to create the optimal acoustical experience within different areas of the auditorium. Every panel has a function , as Benjamin Koren mentioned.1 The uneven carvings with sea-shell patterns abosrbs and scatters waves differently. Panels on the ceilings need to have shallower grooves, while the ones in the back wall of the audiotirum should have bigger grooves to absorb echoes.2 This particular project reflects the usage of computational tool to generate different variations, until the optimal solution is chosen. This is a process of, as Kalay has mentioned, puzzle-making , when a specific end-form is still unknown. The designer understands the overall goal of the design (in this case a hall with perfect acoustic effects), but needs more constraints in order to create 1 Stinson, Elizabeth, Robbie Gonzalez, Elizabeth Stinson, Elizabeth Stinson, Elizabeth Stinson, and Adam Rogers and others, What Happens When Algorithms Design A Concert Hall? The Stunning Elbphilharmonie , WIRED, 2016 <https://www. wired.com/2017/01/happens-algorithms-design-concert-hallstunning-elbphilharmonie/> [accessed 11 August 2017] 2 Ibid.

a specific goal with optimal solution. This can be done using computational design tools, where they create parameters in order to create iterations or variations of forms to achieve the goal of the concert hall, which is to attain the optimal acoustical effects. The parameters taken into consideration for the concert hall were the rooms geometry and aesthetical preferences of the architects.3 Although each panel has different forms, they believe that the room still has to look beautiful and consistent in respect to the audience. It is truly a bottom-up process. The form of the concert hall and panels itself indicates a design that strays away from traditional compositions. The designers does not focus on re-creating a traditional concert hall composition, but instead they created parameters in order to generate several solutions until they found the perfect solution based on performative parameters. This method of form-finding is considerably new and unconventional, but proves that it could be a method that we can move towards to, as it creates a design that responds well with the surroundings.

Ibid.

GALAXY SOHO

ZAHA HADID ARCHITECTS Beijing, China 2012

SImilar to that of the Elbphilharmonie, Galaxy SOHO is a complex filled with different functional spaces. It is a composition of five structures that a linked and fused by bridges. The first three levels houses facilities such as retail and entertainment, while the levels above it are designated for office spaces. The top views were purposely dedicated for restaurants, cafes and bars in order to incorporate the surrounding views of the city with the spaces. 1

With the parameters that were created by the Chinese courtyard analogy, generative technologies were able to produce different alternatives to traditional compositional methods. In spite of the fact that the designers were trying to reflect traditional Chinese courtyards, the forms generated using computational design are completely different. It proves that they were able to discover a structurally sound form and unique forms while still keeping the underlying or original design intent.

This project strongly reflects the unimaginable forms that could be created using computational design tool. Parameters used were created from the aim of wanting to reflect traditional Chinese architecture where courtyards play in integral role and wanting to create a structure with no abrupt corners that breaks the fluidity of the composition. 2As users explore deeper into the building, the curvelinearity will lead them to a smooth discovery of intimate spaces. 3

The development from a traditional Chinese courtyard to a contemporary and curvelinear forms of Galaxy SOHO can only be done with the help of generative design tools. It is proof that as technology advances, architecture starts to shift from focusing on form compositioning to generative architecture. Instead of designing and dictating the form, architects are now partners with the computers to ﬁnd a solution for the form together by using algorithmic parameters, in order to reaching multiple design agendas at once.

1 Galaxy Soho / Zaha Hadid Architects , Archdaily, 2012 <http://www.archdaily.com/287571/galaxy-soho-zahahadid-architects> [accessed 11 August 2017] 2 Ibid. 3 Ibid.

Computational design tools have significantly change architectural practice. Architecture can now explore new possibilities. It has now moved beyond the means using computers as a drafting or modelling tool, to using computers as a partner that helps designers to discover solutions together. Architecture is a dynamic system that allows us to connect the present and a speculated future. As architects, the designing process requires us to create solution to the issues speculated in the future, instead of simply designing for the sake of its forms or aesthetic preferences. Technology has now become more attainable. Using digital means, architects are given more opportunity to design solutions for the probable speculated futures. As the future is indefinite, numerous amount of speculative designs is required, and using computation, this process will become more efficient and effective. Furthermore, computations can now evaluate or create a design based its performative and structural qualities. They can produce infinite variations of solutions and present a solution that best solves the constraints or parameters at hand. By having more opportunities of answering the issues of performative, materiality, and structural qualities of a design, a sustainable future is no longer an impossible utopic dream.

A.4

CONCLUSION 26

Then again, even with the rise of technology, is enough to depend completely on computers? Computers, though accurate and eﬃcient, lacks the intuitive and creativity that is possessed by human qualities. Designers still have the responsibility to make decisions, and should not simply delegate design choices to machine. Thus, in order for the optimum man-machine relationship or Vitruvian Eﬀect to be reached, I believe human interventions to computational design is needed. It is true that computational design allows for complex and intriguing forms, but the more complex it is, the more complex the algorithms are, the more factor that needs to be considered. Humans still need to fully understand the algorithmic system in order to make sure that the computers would generate the optimum solution. The usage of parametric design should be evaluated to make sure that it does not become a limiting factor for the architect s design capacity, but instead becomes a supporting tool to create the optimum solution together.

Prior to the three weeks of intensive focus on computational design, I did not realize the difference between computerisation and computational. However, the theories and knowledge presented through the literatures, opened and widened my perspective regarding this matter. New concepts and theories, such as design futuring, speculative design, computational, and generative architecture were introduced during these three weeks. Through these new concepts and searching for precedents, I now see the extent that computational design can reach. I now realize their amazing potential, but also their limiting qualities. Learning that the idea of future is in jeopardy, I now believe that computational design is one of the methods that can help give us the opportunity to reach a sustainable future. I understand now that from the definitions and parameters you built, you can create countless different iterations. This is different to just simply modelling in Rhino. Using Grasshopper or other algorithmic-based modelling programs, we are searching for a solution together with the computers. Grasshopper also allows for an efficient accurate process of form-finding as all the algorithmic inputs have to be definite and logical. I realized that this is where Grasshopper excels. We can guarantee for an optimum solution to be generated, which you cannot do with Rhino.

However, I cannot help but to start questioning the future of architects. Could this development in computational design start to replace the role of architects as designer? With parametric design, computers generate variations of solutions and designers are responsible of making the decision, but does this mean that architects are following the computers decisions? It is possible for us to be fixated on finding an optimal solution that we start forgot the original design objectives. Through looking at the precedents and readings, only I start to realize that computational design should merge with human intuitive and creative qualities. Even if performative and structural qualities are important, the experience felt by the users are also important. Designing the experience felt by users is when human intuition plays a major role. Architects should still consider designing in respect to the qualitative experiences felt by the users. With this cooperation between man and machine, I believe that the advancement in computational design can become an amazing tool that works efficiently to solve the current world problems.

A.5

LEARNING OUTCOMES 27

BIBLIOGRAPHY Anthony Dunne and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming, (Cambridge, MA: MIT Press, 2013), p. 9 Bosco Verticale / Boeri Studio , Archdaily, 2017 <http://www.archdaily.com/777498/bosco-verticale-stefano-boeriarchitetti> [accessed 1 August 2017] Brady Peters, Computation Works: The Building of Algorithmic TThought, in Special Issue: Computation Works: The building of Algorithmic Thought, Architectural Design, Volume 83, Issue 2, (2013), p. 10. Galaxy Soho / Zaha Hadid Architects , Archdaily, 2012 <http://www.archdaily.com/287571/galaxy-soho-zaha-hadidarchitects> [accessed 11 August 2017] ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University Of Stuttgart , Archdaily, 2013 <http://www.archdaily. com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart> [accessed 11 August 2017] Landesgartenschau Exhibition Hall , Archdaily, 2014 <http://www.archdaily.com/520897/landesgartenschau-exhibition-hall-icd-itke-iigs-university-of-stuttgart> [accessed 1 August 2017] LCD Exhibits As Autumn Leaves At Beijing s 2013 Design Week , Archdaily, 2013 <http://www.archdaily.com/451572/ lcd-exhibits-as-autumn-leaves-at-beijing-s-2013-design-week> [accessed 11 August 2017] Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 6. Stinson, Elizabeth, Robbie Gonzalez, Elizabeth Stinson, Elizabeth Stinson, Elizabeth Stinson, and Adam Rogers and others, What Happens When Algorithms Design A Concert Hall? The Stunning Elbphilharmonie , WIRED, 2016 <https:// www.wired.com/2017/01/happens-algorithms-design-concert-hall-stunning-elbphilharmonie/> [accessed 11 August 2017] Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p.1. Yehuda E Kalay, Architecture s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004)

A.6

APPENDIX / ALGORITHMIC SKETCHES 30

TILING - RESPONSIVE SKIN OC TREE - VORONOI - LOFT

From the ďŹ rst few video tutorials, I tried to create a few samples of tiles that could work as a facade. DiďŹ&#x20AC;erent parameters were set, such as: surface forms, numbers of points and numbers of curves. I tried to think of the possibilities this can be related to a responsive design, the undulations, openings and depths could work be formed by setting parameters depending on lighting, shading, etc.

IMAGE SAMPLING ZEBRA PATTERN

I tried experimenting with image sampling. I tried to replicate a natural pattern: Zebra. I was interested in natural patterns as after looking at precedents, especially from the ICD & ITKE Research Pavilion projects, I realized that nature is a powerful source of knowledge

PATTERN DATA & LIST

I explored the use of data and list and through that I was able to create a pattern. With polygons, circles and grids, I was able to make what seems to be similar to that of an Arabic pattern.

CONTOURING

UNDULATING SURFACES

I tried experimenting with the Contour deďŹ nition from grasshopper and incorporate the forms I got from experimenting with Loft and tried to create this undulations.

CRITERIA

A DESIGN

B.1

RESEARCH FIELDS 36

Polyp Lux by Soft Architecture Lab

TESSELLATION

Tessellation is a technique that is now commonly explored in parametric design. It is a technique that involves the usage of repetitive elements to create a plane or surface. The polygons of the pattern should have no gaps or overlapping spaces.1 The tessellation technique can be used to create singly or doubly curved surfaces. In architecture, tesselation is often seen in buidling facades to create different textural qualities to surfaces. It can also help create complex shapes. With the evolution of digital design, tessellation results to a more efficient and cheaper method of designing and fabrication. Tessellation can create dynamic forms by the use of its modular elements and consideration of materiality. For instance, Polyp Lux by Soft Architecture Lab was able to create the dynamic oculus forms through the use of its modules that can stretch to any direction, creating the fluid form. The use of each module in this case help ease the fabrication process and a more cost efficient method, rather than creating a single surfaced fluid form. Material selection is a very crucial aspect in tessellation. The material behaviour will be the one that ultimately affect the final form and pattern. Understanding the materials can ease the method of fabrication. For example, to create a form like the VoltaDom, using a membranelike material will be easier than using stones. Therefore, it is important to understand the technique as well as the material usage. 1 Lisa Iwamoto, Digital Fabrications, 1st edn (New York: Princeton Architectural Press, 2009), p. 36-43

As mentioned by Peters, it is important to think of the pragmatic world of construction while being able to balance it with the conceptual world.2 Tessellation is one of the most efficient method to achieve the desired conceptual surface form. With the help of digital fabrication, construction of tessellation is made even easier. The help of laser cutting to create the modules, as can be seen in several installations or structures created by Soft Architecture Lab. It allows for the ability to create standardsize materials that can be mass produced at once and assembly can be controlled, again making the process more efficient. By discovering the potentials and flexibility of tessellations to manipulate surfaces, architects has now began to incorporate tessellation as a method of enhancing the user experience and performance of the building, by controlling the parameters that were used to design it. Tessellation offers designers various surface parameters that we can explore, such as undulations, sizes of modules, shapes, etc. It can be created to create a responsive skin that answers to the issues of its environmental surrounding. This means, through the cooperation with parametric design, the tessellation technique can now be adjusted to different conditions, creating a different experience for different users in different places.

2 Brady Peters, Realising The Architectural Idea: Computational Design At Herzog & De Meuron , Architectural Design, 83.2 (2013), 56-61

POLYP. LUX Soft Architecture Nuit Blanche, New York 2011

A site specific hanging installation produced by SOFTlab was a part of Flash: Light 2011. It is located at the entrance of St Patrik s Catholic School.1 The form was created through a gravity force process and then set upped for production. The surface contains over 1400 battery powered LEDs.2 The piece was designed to lighten the entrance for the evening event. The focal formal expression of the creation are the hanging pieces that spark and sway in the wind. This is an example of thinking about the materiality, not only technique of designing. Like the purpose of the typical barrier, the installation is used to moderating the traffic through experience and effect; the visitor is to interweave and interact with the piece, such like a clown fish and the sea anemone. This is an interesting combination of consideration towards the method of designing and the materials used for fabrication. Considering that the form is based on the idea of gravity pulling it downwards, using light weight material is suitable.

1 POLYP.Lux ‒ Softlab , Soft Lab Architecture, 2017 <http://softlabnyc.com/portfolio/polyp-lux/> [accessed 11 September 2017]. 2

Ibid.

B.2

CASE STUDY 1.0 40

VOUSSOIR CLOUD IWAMOTO SCOTT ARCHITECTS SCI-Arc Gallery, Los Angeles 2008

The Voussoir Cloud by Iwamoto Scott with Buro Happold was a project constructed out of 2300 petals of thin wood.1 The underlying premise behind the Voussoir Cloud is a compressed structure made out of lightweight petals of thin wood laminate based on the form of voussoirs.2 The form was built using diﬀerent shaped modules. The triangular modules have zero, one, two or three edged curves as shown in the diagram on the left. They are connected to one another by the usage of ﬂanges. The usage of tessellation allows for the creation of doubly curved surface. It is a form that resembles that of a which intrigued me the most in terms of tessellation. It attempts to challenge the juxtaposition between forces and materiality, in this case, pure compression in vaults with paper-thin wood laminate. Through research, I realise that this project not only incorporates tessellation but also patterning and geometry, with the integration of these elements forming seemingly simple yet elegant form. 1 2

Through the use of digital programs, the engineers were able to create the most efficient form possible that could still be structurally strong and resist the bending forces. This proves the usage of computational programs to help increase efficiency and structural integrity. This project seems to appeal to me due to its focus on materiality. Although it uses the same technique of tessellation as the Polyp Lux by Soft Architecture Lab, the effect is sdifferent. The Polyp Lux created a sense of pulling, while due to the use of rigid materiales and structure, the Voussoir Cloud has sense of being compressed. Although the form looks like a fabric being pulled, the final fabrication and material resulted in the rigid columnlike structure.

K.G., Voussoir Cludm Architect 98, 8 (2009): 58. Ibid

ITERATIONS

P=3

P=4

P=5

P=6

S = 0.15

S = 0. 30

S = 0. 5

S = 0. 75

NUMBER OF COLUMNS Points (P)

SIZE OF COLUMNS

Size (S) Unary Force towards Unit Z (Fz)

S=1

LENGTH OF COLUMN

Length (L) Unary Force towards Unit Z (Fz) L = - 10

L=-8

L=-5

Fz = 3

Fz = 5

Fz = 8

L= -3

EXPLOSION

Rest Length (R) Unary Force towards Unit Z (Fz) Fz = 10

Fz =

EXPLORATION

Using diﬀerent Plugins and diﬀerent commands for 10 points of columns

Voronoi Radius = 10

R=1 L = 10

Diagonalize (Kangaroo)

Diagona (Kangaroo Weaverbird

P=3

P=7

P=9

P = 11

1. 00

S = 0.15 Fz = 3

S = 0. 30 Fz = 3

S = 0. 50 Fz = 3

S = 0. 50 Fz = 5

S = 0. 75 Fz = 5

L=3

L = - 20 Fz = 3

L = - 15 Fz = 3

L= - 10 Fz = 3

L=-5 Fz = 5

L=3 Fz = 5

R=0 Fz = 0

R=1 Fz = 3

R= 2 Fz = 5

R=3 Fz = 8

R=5 Fz = 10

= 10

alize o) with d Oï¬&#x20AC;set

Reciprocal Angle: 40o

Reciprocal Angle: 150o

Chromodoris Plug-In

Chromodoris PlugIn + Fz = 5

Chromodoris Plug-In + Decreased Smoothness

SELECTION CRITERIA

1. CREATIVITY

2. CONSTRUCTABILITY/ FABRICATION

The case study 1 aims to help us understand the script and expects for us to push it further. This means that at the end of the process, I should be able to generate an iteration that is a creative form and completely diﬀerent from the original form of the Voussoir Cloud.

When designing, it is important to think about its constructability and the ease of fabrication. This is also applied in parametric design. Although there are multiple iterations, it is important to evaluate the possibility of its fabrication. To think of how to accurately control its parameters in real life during fabrication. We need to to think of the materials that are possible to be attained and what type of materials can be used to achieve the desired form. In addition, cost would play an important role. Finding an iteration that can realistically be built will help save cost.

This will prove the ability of generative design to create multiple designs by using a deﬁnition and adding several more parameters to it.

3. ARCHITECTURAL QUALITY

In addition to fabrication, it is important to think of how the design could be applied. This creates a purpose to the design. By thinking about the architectural quality, we create the iterations with a goal in mind. It acts as an extra parameter that helps us determine which form to use in real life. In this case, we have to think of its possibility to apply our design or iterations as roof/shelter, facade or pathway.

4. DESIGN FLEXIBILITY

It is important to make sure that if the design were to be applied in real life, that is should be ﬂexible. This is the aim of parametric design, being able to respond well to the surrounding environment. We have to make sure that the iteration should be able to serve this purpose of responding to the surroundings without losing its main design form. The design should be able to adapt to any environment.

SUCCESSFUL ITERATIONS

This particular iteration is a successful iteration due to its ability to differ from the original structure. Its doughnut-like form is an interesting form that was generated by adding the Chromodoris plug-in to the original definition. It is also a flexible design due to its overall organic shape. It will be able to adapt to any shape. The perforations can differ depending on different environmental conditions. However, it might be difficult to fabricate, although not impossible, due to its tube shape.

C F A D

This particular iteration is successful due to its realistic form that could aid to the ease of fabrication. This form is realistically possible to be made as an architecture element. It can work as a roof, pathway or facade. Although the number of perforations may be increased and the undulation levels may diﬀer, this form is still not as ﬂexible as the other due to its rectangular boundaries, whereas the other iterations have a more organic form that can be take in forms of other shapes.

C F A D

The design flexibility and possibility of ease of fabrication for this iteration pushes it to become a successful iteration. It has the potential to be used as an architectural element. It may work as either a roof, pathway or facade depending on the height of the columns. Similar to the first successful iteration, its organic shape and ability to change the size of perforation makes it a flexible design form. This particular form can also be realistically fabricated by using membrane or fabric materials.

This iteration is considred as successful due to its realistic qualities that makes it constructable and has a high possibility of being an architectural element. Although its form is not as unique as the others, it can realistically work as a roof. Then again, it is not as ﬂexible as the others as it would be harder to design it as a facade or facade.

CREATIVITY (C) / CONSTRUCTABILITY (F) /

ARCHITECTURAL QUALITY (A) / DESIGN FLEXIBILITY (D)

B.3

REVERSE ENGINEERING

SAN GENNARO NORTH GATE Soft Architecture

Mulberry Street, New York 2011

A site specific hanging installation produced by SOFTlab for the San Gennaro Festival. It serves as a North Gate for the festival. The piece was designed to lighten the entrance for the event.1 The direction of the oculus works as a sign for the pedestrians: one pointing up and one pointing down to define the zone for pedestrians to walk. The whole form works as a tensile structure.The form was created through a gravity force process and then set upped for production. The surface contains 4224 laser cut panels. Each panel has unique shape and is printed with custom color and is attached to surrounding buildings using cables and tubes. It can only be installed in this site as it can only find its true form if attached to the specific points in the site.2

The focal formal expression of the creation are the hanging pieces that spark and sway in the wind. This is an example of thinking about the materiality, not only technique of designing. Like the purpose of the typical barrier, the installation is used to moderating the traffic through experience and effect; the visitor is to interweave and interact with the piece, such like a clown fish and the sea anemone. This is an interesting combination of consideration towards the method of designing and the materials used for fabrication. Considering that the form is based on the idea of gravity pulling it downwards, using light weight material is suitable. This form could not be achieved using different material, proving that an important part of tessellation is the material selection.

1 San Gennaro North Gate ‒ Softlab , Soft Architecture Lab, 2011 <http://softlabnyc.com/portfolio/san-genarro-north-gate/> [accessed 11 September 2017]. 2 Ibid.

REVERSE ENGINEERING San Gennaro North Gate

ELEMENTS

DEFINITION

Main Form (Membrane-like Structure)

Kangaroo (Spring & Anchor Point)

Pattern (Modular and attached to Grid)

Data List (Working with Grid, Lines and Curve)

Combination of Pattern and Form (Mesh + Surface Pattern)

Points (Deconstruct Mesh + Data List)

Main Structure

Mesh to Surface

Point + Curve > Voronoi > Region Intersection > Move > Loft > Kangaroo

Deconstruct Mesh > Deconstruct Face > List Item > Points > Grid

Pattern Grid > Points > Line > Evaluate Curve > Curve

Pattern to Structure Connect Points on Mesh to Points on Pattern Grid

REVERSE ENGINEERING PROCESS ST EP 1

ST EP 2

P O INT

V O R ON OI

B O UND AR Y C UR V E

R EG IO N INT ER S ECT I ON

M OV E (Z -A XI S)

S CA L E B O UND AR Y C UR V E

LOFT

EX P L O DE

M ES H

CR EATE SET

(AN

Create the boundary using Polyline in Rhino and set it to the curve in Grasshopper. Do the same for the points

ST EP 3

M ES H

ST EP 4

DE CO NS TR UC T ME SH

Deconstruct the mesh in order to create grid on the mesh.

DE CO NS TR UC T FAC ES

L IS T IT EM

M ER GE

P O INT

P O INT CE L L

L IS T IT EM

H UV

MES H JOI N

WE L D V ER T IC ES

M ES H EDG ES

EN D

CR E ATE SE T

SPRING

POINTS

NCHOR POINTS)

MESH UNARY FORCE

Explode the Lofted Surface and make it into a mesh. Separate the edges of the mesh. The mesh edge at the most top and bottom will become the anchor points to the spring from Kangaroo.

PO IN T S

EXPRESSION (a+b +c+d)/4

LINE

EVA L UTATE CU RV E

CU R V E

ED GE S UR FA CE

S UR FA CE

Create the pattern using expressions and lines through Grasshopper. The points of the grid will become the grid points for the pattern.

FINAL RESULT

San Gennaro North Gate Reverse Engineering From the first Case Study, I was able to play around with the Kangaroo plug-in by using the definition for Voussoir Cloud. By doing so, I was able to understand its usage. For the Reverse Engineering, I was interested in finding a form that has a similar quality. Thus, the chosen case study: San Gennaro North Gate installation. I have learned how to create a membrane-like structure using Kangaroo, by speculating the parametric design process of San Gennaro North Gate Installation and by applying the knowledge from Case Study 1. In addition to using the Kangaroo plug-in, I was able to discover methods to create the tessellation pattern. Most importantly, I learned a new technique of making the mesh into a surface by creating grid on it, so that the pattern could be applied to the mesh. Although I attempted to create an identical replica of the San Gennaro North Gate by Soft Lab, I faced several constraints due to my limited knowledge in Grasshopper. This resulted in several differences from the original installation and my replica.

SIMILARITIES - The main form and direction of the two oculus.

DIFFERENCES

- The pattern that acts as a tessellation to the form.

- The oculus going upwards is slightly pulled to the left in the original structure. However, I was not able to attain the skewed form.

- The membrane-like quality emphasizes the visual of the structure being pulled by gravity.

- I was not able to appy the colorization from the original installation to my replica. - I was not able to create the circular ends of the oculus, instead my replica has voronoi rectangular or voronoi ends.

There are areas that I would like to improve from my replica, which are the diﬀerences that I was not able to solve. There are some speculations that I was able to make for some of the issues, such as the colorization. Since the colorization is another layer of patterns, it could be possible that it was made using Image Sampling, Random, or even it could be based on certain data. I would also like to learn how to loft several diﬀerent geometries at once without using the voronoi command. This would be an interesting way to learn new Grasshopper techniques.

B.4 MATRIX 54

SPECIES 1 Diﬀerent Frames Weaverbird + Kangaroo

SPECIES 2 Diﬀerent Forms Rest Length Patern Size Height

SPECIES 3 Diﬀerent Patterns Experimentation with Expressions Formulas

SPECIES 4 Diﬀerent Patterns Experimentation with Curvature

SELECTION CRITERIA CASE STUDY 1 SELECTION CRITERIA 1. CREATIVITY 2. CONSTRUCTABILITY/FABRICATION 3. ARCHITECTURAL QUALITY 4. DESIGN FLEXIBILITY

With futher development, and taking the brief more into consideration, I came up with two more selection criteria. In addition to the brief, it needs to be considered that the design may be used for a realistic architectural design proposal, thus the two additional selection criteria will help reach a more well-thought selection.

ADDITIONAL SELECTION CRITERIA 1. RESPONSIVENESS

2. AESTHETIC QUALITY

The brief ot the studio is to create a responsive skin, may it be roof, facade or pathway. This particular selection criteria is important at this stage. Here, we should consider the possibility of the design to have diﬀerent variations that adapts to the environmental condition of the surroundings. This might be similar to Design Flexiblity criteria, but this focuses more on the ability of the form to be responsive to diﬀerent environmental conditions, whereas Design Flexibility is the adjustability of its shape to adapt to a surrounding without losing its main design form.

This selection criteria becomes the last criteria the iterations have to go through. After the other functional, structural and constructability criterias are fulﬁlled, what has to be compared is the aesthetic quality. Since the iterations will work as a facade, roof or pathway, it should be made sure that it has an aesthetic quality that is considered high quality. Especially in a realistic sense with clients taken into consideration, aesthetic quality plays in a important role to design selection. Although this is a biased criteria, it needs to at least be made sure that the design form is logical in terms of its brief.

The qualities taken into consideration for this stage is mostly the shapes of the patterns. During case study 1, it has been proven that the extent of ability to change the main form using Grasshopper and the Kangaroo plug-in. It needs to be made sure that the module of the patterns/tessellations can be fabricated easily and is ﬂexible enough to create an architecture surface.

SUCCESSFUL ITERATIONS

C F A D R Q

This particular iteration is considered as successful due to its design ﬂexibility and aesthetic quality. It has an organic form that can be adjustable to any shapes. In addition the diamond patterns make it possible to make it adjustable. Although it might be a little bit challenging to fabricate, this iteration is also unique due to its diamond pattern and blooming form. The materiality choice for this particular iteration would be important.

This iteration is intriguing due to its fabriclike form. The folds of the forms created a unique design. This form is created by the tessellated modules similar to that of the San Gennaro North Gate installation. This will create the ease of fabrication. However, it needs to be analyzed on how responsive the form is compared to the other successful iterations. In addition, although it can be made into an architectural structure, it is not as apparent as the other forms.

C F A D R Q

This iteration is unique due to its coral-like form. It is considered a successful iteration due to its interesting aesthetic form. Its main form is constructed of tessellated modules, which makes it easy to fabricate. This form has high possibility of being responsive. Size and depth of the perforations can be changed, it can diﬀer based on the environmental condition. It can be used to respond to diﬀerent types environmental condition.

This iteration, although not as unique as the others, has a very strong possibility of being an architectural structure. To an extent, it may be ﬂexible and responsive by changing the height of the columns. or changing the direction of the tessellated panels to respond to the environmental condition. However, due to its angular and rectangular form, it might be not as adjustable as the other iterations.

CREATIVITY (C) / CONSTRUCTABILITY (F) / ARCHITECTURAL QUALITY (A) /

DESIGN FLEXIBILITY (D) / RESPONSIVENESS (R) / AESTHETIC QUALITY (Q)

B.5

PROTOTYPE

TRADITIONAL FORMWORK FABRICATION This prototype was based on our first design of the tessellation. We initially designed two different triangular modules that would work as a facade element. The connection between each module was facilitated by using tabs on each side of the triangle. We plan to cast the tabs along with the actual form of the module, making the tabs part of the form. In order to make the module tessellate as a surface, there should be two different modules of triangles. One with 1 tab going outwards and the other one with 2 tabs going outwards. Hence, we made two different formwork that can be attached to the same base. We built the formwork manually using wood and placed a 1x1cm steel mesh on the base in order to work as a grid that helps with the measurement and direction or location of the perforations.

CONNECTION BETWEEN MODULES

The next few steps include as clamping the fabric in between the formwork and the stand. Then, we pulled the fabric downward using a string and placed a styrofoam mother mould in the centre. Next, we poured the plaster mixture up to the height of the formwork.

After letting the plaster dry for one whole day, we took the cast out and pulled the fabric oﬀ the cast.

Lastly, we tried to take the styrofoam out by using a cutter and cleaned the remaining styrofoam attached to the cast by pouring acetone, which dissolves the styrofoam and created a clean and smooth surface inside the perforation.

PROTOTYPE #1

During the process of designing for the first prototype, we were focusing on the form, casting technique and connections. We tried to find a simple form that could create complex surfaces, as we were not sure yet of our final design proposal, so it might be a roof, pathway or facade. We wanted to respond to solar heat gain, but we needed to create room and flexibility for any changes that might occur in between. Hence, we opted for a triangular module as we realized that a triangular tessellation allows for the formation of complex surface, such as undulations or turns on the edge. Then, we tried to think of the possible connections, which in the end we designed as tabs. We figured that this is a good way to hide the connections as it is included into the form. From the results of the prototype, we realized that there are some things we should have put more into consideration, although there are positive and helpful things that we discovered for future fabrication methods.

ADVANTAGES We realized that the fabric that we used was able to create a smooth ﬁnish and an interesting balloon-like form. Although it was not our intention in the ﬁrst place, we discovered a unique form that could inspire us for the design process. As the fabric was not stretchy enough, it created folds. This resulted in the unique folds that were applied to the casted module. The overall system of the formwork we made out proved that it can work successfully to cast the module. We also realized that styrofoam can be a good option for mother mould as it was easy to clean and pull out.

DISADVANTAGES The most problematic aspect of Prototype #1 was that there was no aspect of digital fabrication in it. We designed and fabricated our formwork manually. For the next prototype we should try to create the formwork using digital fabrication, which will result to more accurate measurements and will become helpful for fabricating parametrically controlled design. Although the fabric folds may be an intriguing aspect, it may be a disadvantage too. This depends on the type of ﬁnish that we desire. Similarly, the interesting balloon form was not our ﬁrst inention, If we plan to keep the gravity pulled form that we intended to fabricate, then we should test out other stretchier materials. Lastly by pouring the plaster, we realized that it makes the module too heavy and the tabs becomes too brittle and weak to hold the weight.

DIGITAL FABRICATION TECHNIQUES

DIGITAL FABRICATION

RIAL:

EDIUM DENSITY FIBREBOARD FML AO RMWORK PROCESS SERCUT & PLASTER CASTING

CATION: OD DIGITAL

BASE

HEXAGON

FABRICATION

TECHNIQUES

TRAPEZIUM

PARALLELOGRAM

MATERIAL TRIANGLE

FABRICAT METHOD

For the second prototype, we tried designing using digital fabrication. We lasercutted our formwork and frames, as shown in the pictures on the left.

BOUNDARY // FORM STRUCTURE STAND

FORM STRUCTURE OF MODULES WILL BE PRODUCED FROM BOUNDARY PATTERNS IN FORM-FINDING MATRIX.

IT WILL BE USED AS A STRUCTURAL ELEMENT TO FORM THE BASIS MOTHER MOULD O F T H E M O D U L E S .FRAME CONNECTIONS WILL BE INTRODUCED TO EACH PANELS.

PARALLELOGRAM

Two out of the 13 stands have measurements on them to inform us to which point the fabric should be stretched. We also decided to laser cut the mother mould, which would mean the size of mother mould will be more accurate rather than cutting the styrofoam ourselves. In addition, we decided to also lasercut the frame, which would be embedded in the ямБnal module This allows us to be more accurate in the sizing and helps to ease the fabrication method. It will also help create a lighter module rather than casting the frame with TRIAN HG E XL A E G O N plaster. TRAPEZIUM These components will be arranged in the order as shown in the diagram above and the system of fabric stretching is demonstrated in the diagrams below

FORCE VARIATION // SUPPORTS

FORM STRUCTURE SUPPORTS

FORCE/ HEIGH T GUID ELIN ES

FABRIC

DOUBLE STAND SLOTS

LEG SUPPORTS OF FORMWORK WITH GUIDELINES THAT REPRESENTS THE FORCE & HEIGHT VARIATIONS OF THE MODULE PROFILE.

FABRICATION PROCESS FABRICATION PROCESS IG I TAATLI OF N A BTRE IC CHANT II Q OU N E TSE C H N I Q U E S D I G I T A L F AD BR IC

MATERIAL: PROCESS PROCESS FABRICATION PROCESSF A B R I C A T I O N : T E C H NDI IQGUI TEAS L F A B R I C A T I O N T E C H N I Q U EM S ETHOD

FABRIC CLAMPED ONTO FORM STRUCTURE

SELEC TI ON OF FAB RIC

FABRICATION PROCESS

S E L E C T I O N MOAF T EF RAIBARL I: C S S E L E C T I O N O F F A B R I C SM O T H E R M O L D M O T H E R M O L D F A B R I C C L A M P E DF A B R I C C L A M P E D C U T O U T T O C R E AC T EU T O U T T O C R E A T E P L A S T E OR N TC AF ISOAG TRBM II N G EA CSHT N O FR O: IR C M PA SLT T R CTT N RTSIA AOCTFNTITUAO AUI SO EU RRETC I NI Q G U E S PERFORATIONS PERFORATIONS ODF TC RLU RB EN METHOD

SELEC TI ON MOTHER MOLD OF FAB RIC F A B R I C C L A M PC ED UTOUT TO CREATE O N T O F O R M S T R U C T UP RE ER F O R A T I O N S

ORDER OF ASSEMBLY

FINAL MODULE FORM

PLASTER C

M CUT P

03 03

Second, place the mother mould 01 on fabric and attach strings to the ends of the mould.

First, fasten the fabric on the 0 2 frame 02 using the stands and additional clamps.

SELECTION

FABRICATION: METHOD

SELEC TI ON OF FAB RIC

MATERIAL:

FABRIC CLAMPED ONTO FORM STRUCTURE

MOTHER MOLD CUTOUT TO CREATE PERFORATIONS

SE LE CTIO N O F FA BRIC

SELECTION OF FABRIC

PROTOTYPE #2

M A T ESREILAELC: T I O N O S EFL EF C N SO F F A B R I C S A TB IROI C : A PS LT A TER CASTING F A B R I C A T I OFNA: B RPI C L AASTTI EORN C I NSG METHOD METHOD

MATERIAL:

S N S T FRREO TC DE DMOOWT N F A B R I C I S S T R E T CFHAEBDR IDCOIW MH TE H H EFRR O M T H E M O T H E R O LI TDS TFOO RMMA.I N T A I N I T S F O R M . M O L D T O M A I N T AMI N

PE LA ER T H IENNS IBDREU & SHED ON INSIDE & MIX IS TH N S BT R U SM H IEXD I SO N U TLSEI A DV E IO F FTAHBER A I CR ELAE AWVIITNHG O F F A B RO IC NG I NT H E A R E A W I T H I N MRO TT H H EE RV O M IODL. D F O R T H E V O I D . MOTHER MOLD FO FABRIC IS STRETCHED DOWN FROM THE MOTHER MOLD TO MAINTAIN ITS FORM. FABRIC IS STRETCHED DOWN FROM THE MOTHER PLASTER MIX IS THEN BRUSHED ON INSIDE & MO T OOMDAU I NLT E AIN I T SR M FORM. FIN ALLD M FO OUTSIDE OF FABRIC LEAVING THE AREA WITHIN FINAL MODULE FORM MOTHER MOLD FOR THE VOID. PLASTER MIX IS THEN BRUSHED ON INSID E &

ASTER N AF LO RMMO D U L E F O RPOLM F I N A L M O D UF LI E UTSIDE

Third, Sew the string tied to the mould, through the fabric. Then, pull the strings, which will stretch the fabric, and tie it to the stands.

OUTSIDE OF FABRIC LEAVING THE AREA WITHIN MOTHER MOLD FOR THE VOID.

FABRIC IS STRETCH MOLD TO MAINTAIN

UTSIDE OF FABRIC Lastly, use the brush to put on OMplasOTHER MOLD FOR ter on the fabric. Put several layers to apply some thickness to the module. This is the desired ямБnal outcome

PLASTER MIX IS THE

CONNECTIONS By laser cutting the frame, we were able to include rectangular holes on that will be used as a connection between modules. We designed a connection clip as shown in the diagram on the left. The triangular end was added to allow the clip to go through the hole, and once it goes through it will be locked and secured. The clips are designed to be 3D printed. It will be modelled digitally. This way, it can have accurate measurements according to the measurements of the rectangular hole.

MATERIAL TESTING

M AT E R I A L T E S T

NETS - mesh

STOCKING - translucent

BANDAGE 3 68

RESULT

From material testing, we were able to conclude that the mesh and stocking is equally stretchy. However, for the mesh, the more stretched it is, the bigger the holes become, which might make it hard to keep the plaster attached to the fabric. The bandage is not as stretchy as the other two, but seems to be very absorbant due to its rough texture, which could make it easier to attach

18 69

PROTOTYPE #2 TIME LAPSE MODULE 1 : TRIANGLE The mesh fabric is used for this prototype.

The formwork was designed to be able to do several casting of modules at once. In this case, we are casting the triangle and parallelogram at once.

MODULE 2 : PARALLELOGRAM

The translucent stocking is used for this prototype.

MODULE 3 : TRAPEZIUM

The bandage is used for this prototype.

PROTOTYPE #2 RESULTS

Similar to Prototype #1, the second prototype resulted in us understanding further the process of casting. In this prototype, we were able to solve the issues that we saved in Prototype #1, but new problems arise. We were able to create a much lighter module and a more efficient way of fabrication. The connection systems are more efficient. However, we were not able to create the smooth texture as we did in the first prototype. This is caused by the brush stroke textures and the uneven distribution of plaster layers in certain areas. We were also having problems of the plaster cracking during the drying process, which is an issue that we would have to evaluate more.

TRIANGLE MODULE: MESH FABRIC The mesh fabric can be stretched easily, which makes it possible to create the desired form. Although the ﬁrst layer was quite hard to apply as the liquid plaster sometimes leaked due to its holes. However, the mesh was able to absorb the water from the plaster. PARALLELOGRAM MODULE: STOCKING The stocking was stretchy and we were able to attain deeper depths of forms. Nonetheless, it was tighter than the mesh. It is also not as absorbant as the mesh, making it hard to apply the ﬁrst few layers. This makes it harder to create an even and smooth surface. TRAPEZIUM MODULE: BANDAGE The bandage is not as stretchy as the other materials, so there are not as many variations of depth that we can attempt using this material. However, it is very absorbant. It is very easy to apply plaster to this material. This factor helped the process to become faster. This might become a very advantageous fact.

FINAL THOUGHTS

Comparison between all three prototypes. what do you want to achieve.

From all the prototypes, we were able to see how different materials react and how different techniques can help ease or create issues during fabrication. We would like to keep the the smooth surface that we attained during the first prototype. However, we would like to keep the lightweight quality of the second attempt. The formwork made during the second prototype has proven to be systematically successful and can be used for further fabrication.

What we plan to do next is to test different liquid materials and several other fabric. By trying out different liquid material we might be able to find a more lightweight liquid or one that can be applied easily and create a smoother surface. We plan to find a material that is as absorbant as the bandage, but is as stretchy as the mesh. We might even try different brushes or application technique that will help us result a smoother surface. In addition, we will fabricate the connection clips and try out different connections that will help create a more overall efficient system.

B.6

DESIGN PROPOSAL

CHOSEN SITE BUILDING: ERNST AND YOUNG HEADQUARTERS LOCATION: 8 EXHIBITION ST, MELBOURNE CBD

F E D E R AT I O N SQUARE

FLINDERS STREET S TAT I O N

As it sits in the corner of the CBD, each orientatio

panoramic view of the Yarra River. While the oth rounding context of each facade also diï¬&#x20AC;ers. Its

ings. Its Western facade sits next by mid-rise le

clear view of the surrounding suburbs without a

With the aim of creating the premium workpl

Solar heat gain is one of the biggest problems in

diverse environmental condition on each facade

facade that can be used as a canvas that can help that can be attained using parametric design.

SITE ANALYSIS Ernst and Young is one of the largest consulting ﬁrm in the world. It oﬀers services ranging from business risk ser-

vices, risk advisory, corporate governance, audit, security and technology.

Along with the other oﬃces spread globally, one of the oﬃces is placed in the Melbourne CBD.

Although individually different, we are using the EY office building to represent the other office and high rise buildings in Melbourne CBD.

This 35 ﬂoor building standing in the corner of Flinders and Exhibition Street is considered

as a prime area surrounded by other city connections. The building has close proximity to transportation systems (Flinders/Parliament Station and a bus stop right in front of the

building), dining and retail centres, stadium, gyms, bars, and etc. Entrance to the oﬃce tower uses the restored and historic Herald Sun and Weekly Times building. 1

Also called the 8 Exhibition Street , the building prides itself on being able to deliver the premium workplace experience . 2It aims to deliver the perfect work-lifestyle solution .

on faces distinctly diﬀerent views. Its southern facade faces the

her facade faces the diﬀerent views of Melbourne CBD. The surNorthern and Eastern facade sits next by other high rise build-

evel buildings, while the its Southern facade has a completely

any buildings blocking it.

lace experience , we decided to further enhance this quality.

n high rise buildings. EY Oﬃce was chosen as our site due to its

e. In addition, the EY Oﬃce has a simple and clean curtain wall

p visualize the large extent of diﬀerent variations of our design

1 2

<https://www.8exhibitionst.com.au/about-building> [accessed 11 September 2017]. Ibid.

SITE ANALYSIS

Taking into consideration of the brief Responsive Skin we decided to address the issue of Solar Heat Gain in the EY Office Building. It is one of the main concern in Melbourne CBD high rise buildings. We took into account the different angle of winter and summer sun that will affect the location and amount of solar heat radiation. From the diagram, it can be seen that the sun mainly does not hit the Southern Facade facing the Yarra River. We used the Lady-Bug Plug-in in Grasshopper to analyze the average Solar Heat Radiation on each facade. This is the data that we will be using to help aid create variations on our design.

As you can see from the solar heat radiation analysis, it can be seen that each facade has diﬀerent radiation map. The hottest being the Northern and Eastern facade due to the sun path, and the coolest being the Southern facade that is hidden from the sun radiation. The rooftop seems to be experiencing most of the solar heat gain. By retrieving this heat map, we will be able to use this diagram to think of the solutions and design possibilities to face the issue of solar heat gain, while keeping in mind the brief that was given.

During the stage, we tried to combine the three techniques we explored during our Reverse Engineering.

IDEA DEVELOPMENT JESSLYN

RAYYAN

MATERIAL:

SELECTION OF FABRICS

FABRICATION: METHOD

PLASTER CASTING

JESSLYN

FABRIC CLAMPED ONTO FORM STRUCTURE

I explored tessellation during the development of reverse engineering. I tried experimenting with the Unary force created by the Kangaroo Plug-in. I created iterations with undulations, play of perforations and depth of modules that contributed to the design proposal.

SHARLEEN

RAYYAN

SHARLEEN

Rayyan experimented with the repetition of patterns and tesseelation that extrudes from the surface. He also experimented with perforations. His iterations have a form of a skin proﬁle. This idea becomes a contribution to our design proposal.

Sharleen explored the technique Biomimcry, which is done by creating patterns of hexagonal panels that works as a light ﬁltering installations. These patterns were generated from natural patterns. From Sharleen s technique, we took the idea of shading system and modular arrangements.

MOTHER MOLD CUTOUT TO CREATE PERFORATIONS

02 URBAN CORAL: ATOLL FACADE

From the combination of the three, we decided to create a facade that works as a shading device that will help reduce solar heat radiation into the building. The final form that we aim to create includes the unary force effect created by Kangaroo, the extrusion of modules and the inspiration taken from nature. In this case, we plan to imitate the natural pattern of the corals in the sea. The corals work as a habitat that shelter and protects the fish, which is our aim behind our design proposal that 03 helps prevent and protect those inside the building from the solar heat radiation and intense sunlight.

FABRIC IS STRETCHED DOWN FROM THE MOTHER MOLD TO MAINTAIN ITS FORM.

FINAL MODULE FORM

PLASTER MIX IS THEN BRUSHED ON INSIDE & OUTSIDE OF FABRIC LEAVING THE AREA WITHIN MOTHER MOLD FOR THE VOID.

PP R E C E D E N T RECEDENT

PRECEDENT #1

GREEN CAST/KENGO KUMA & A

GREEN CAST/KENGO KUMA & A 80

T STUDIES GREEN CAST, KENGO KUMA AND ASSOCIATES We looked through some precedents online that help inspire us during the process of designing. One of them is the Green Cast by Kengo Kuma and Associates. We were inspired in how they were able to create the pattern and green facade but still allow the view from inside the building by using the arrangement of patterns and perforations.

ASSOCIATES 81

PRECEDENT #2

MOSS VOLTAICS/ELENA MIT

HYBRID BIOSTRUCTURES/AA

This Modular Green Wall System Generates Electricity From Moss , Archdaily, 2016 <http://www.archdaily.

com/782664/this-modular-green-wall-system-generates-electricity-from-moss> [accessed 11 September 2017]. 2

Riyad Joucka, Hybrid Biostructures: The Final Post , Hybrid Biostructure, 2012 <http://hybios.blogspot.com.au/> [ac-

cessed 11 September 2017].

TRO

CTURE

HYBRID BIOSTRUCTURE, AA SCHOOL OF ARCHITECTURE We are heavily inspired by this precedent. The membrane-like form, but still incorporating the method of casting pushed us to the exploration of lightweight casting. The perforations in this structure was aimed to pull hot air from a space and let it out of the internal space under it.2 This particular precedent is particularly relevant to our design in terms of the use of unary force as part of the design and relation to heat gain. Although it does not work as a facade, but as a roof, it helped us understand the logic behind implementing heat analysis into a design

A SCHOOL OF ARCHITECTURE 83

PRECEDENT #3

GREEN CAST/KENGO KUMA & A

MOSS VOLTAICS/ELENA MITRO 84

SSOCIATES

GO KUMA & ASSOCIATES

LENA MITRO

MOSS VOLTAICS, ELENA MITRO This particular precedent inspired us in terms of materiality and functionality. This modular system uses moss to generate electricity.1 Its system of casting also inspired us to explore the method of casting. Together with Kuma s work, we were also interested in incorporating green facade into our work to lessen solar heat gain and solve issues of Urban Heat Island in Melbourne CBD.

URES/AA SCHOOL OF ARCHITECTURE

FINAL IDEA OUTCOME H E

URBAN CORAL: ATOLL FACADE Through the process of idea development with group mates and looking for precedents we were able to develop the ﬁnal design

proposal called URBAN CORAL: ATOLL FACADE , with the people inside the oﬃce or users being our clients and EY Oﬃce Building as our site.

Our design proposal has 3 objectives we would like to achieve. First of all, we aim to reduce solar heat gain into the building and block-

ing intense summer sunlight. Second of all, we also aim to still re-

tain the highly appraised view that could be seen from inside the building, even if our modules cover the facade. Lastly, we aim to

add a green facade into our design. The usage of plants will help

immensely to reduce the heat gain into the building and help face the issue of Urban Heat Island in the CBD.

These three objectives will be fulﬁlled through the use of 4 diﬀerent modules. One of the module will have no depth and largest perfo-

ration to prevent the module from blocking the views. Another will have the longest depth to block the summer sunlight from com-

ing into the building while still allowing winter sunlight to enter.

The other two in between will work as a module that has diﬀerent depth and perforation size which varies depending on the diﬀerent radiation levels.

SOLAR RADIATION & SUNLIGHT

As can be seen from the section view and per-

spective view, it can be seen that around the

level of human eye-sight level, there are no depths in the modules. This is appropriate for

the Sourthern Facade of the EY Oﬃce, where there is lower level of sun penetration and there

is the view of Yarra River. Above it are modules that have deep perforations that help block the sun, appropriate for the Northern facade.

Although not shown in the perspective diagram, we

intend to make design different shapes for different modules. Each module would cater different purposes as mentioned before.

These basic geometrical shapes are the ones that we will

be working with. The size of the geometric shapes will determin the size of perforations and its depth.

Through the use of modules, we aim to prove that this facade is applicable to any buildings, as parametric de-

sign allow the production many diﬀerent variations that can adapt to diﬀerent situations. By showing its appli-

cation on the diverse condition on the 4 facades of EY Building, we will be able to see the extent of our design.

PROPOSAL MATRIX

M ATR ATR IX IX

This matrix shows the variety of possible forms of each module.

MODULE ARRANGEMENTS DEVELOPMENT OF MODULES MODULE 1 : TRIANGLE

MODULE 2 : PARALLELOGRAM

MODULE 3 : TRAPEZIUM

MODULE 4 : HEXAGON

We started thinking of basic geometric shapes (square, triangle, circle) and ended up with a triangle as our starting point for a module. Triangles, when combined with multiple other triangles can create different shapes, while square when combined will still conform into the same square or rectangular shape. Thus, we decided in the 4 different modules: Triangle, Parallelogram, Trapezium and Hexagon. Triangle being the smallest module and hexagon being the biggest (made of 6 triangles). The perforation and depth of each module will differ depending on the size of each module. Thus, each module would serve different purposes. As mentioned before, we have several objectives: a facade that reduce solar heat gain into the building, a facade that blocks the summer sunlight, but at the same time not blocking the view of the building. The four different modules would each cater to each of the objective, i.e. one module

The figure on the left side shows how each module can be attached to one another. The usage of triangles shows how flexible it is when tessellated. It can be tessellated into different shapes.

B.7

REFLECTION

After the past few weeks of Studio Air, I was given the op-

dition to exploring more of Kangaroo here, I tried to explore

program and to start developing a design proposal through

an interesting development was the discovery of trying to

portunity to start developing my skills for the Grasshopper the skills and knowledge that I have attained for the past few weeks.

creating the tessellation or pattern modules. What I ﬁnd was

make the mesh into a surface. I did not realize that it was quite a complicated method.

For the ﬁrst case study, I ﬁnd it as an opportunity to start un-

Aside from my exploration in the usage of computational

very eﬀective way because by playing around with the exist-

the casting process. I learned the usage of diﬀerent materials

derstanding better the logic behind Grasshopper. This was a ing deﬁnition, I was able to better understand the technique that I researched for in part B1.

Although we had opportunity to explore as much as we can

with the deﬁnition, creating the selection criteria made me realize that although Parametric Design can help achieve

many variations of unimaginable forms, it is still important to think of our design goal. Selecting the iterations made me

realize that you cannot simply play around and create random iterations. You need to be able to start considering the contexts, the brief and architectural possibility. As designers,

we should realize that these parametric tools is simply an aid for us, that we are still the ones in control.

These past few weeks especially, I was able to intensively explore the technique of tessellation and the usage of Kangaroo Plug-in in Grasshopper. This is due to Case Study 1 and 2 that helped me to understand the parameters that drives the

form generation in Kangaroo. This particular plug-in helped me learn the eﬀects of forces, especially gravity, to a form. In

addition to my research and understanding of tessellation,

this plug-in made me realize the importance of materiality in designing. Not only for its aesthetic purposes, but for the sake of its structural and overall form.

During the process of creating iterations, there were times where I faced diﬃculty to think of a new species or form.

However, this issue helped push me to start experimenting with diﬀerent techniques in the Grasshopper. Aside from

ﬁnding out diﬀerent tips and tricks, I started to explore other

plug-ins such as Weaverbird, Lunchbox, MeshEdit, Panelling Tools, etc.

Through better understanding Kangaroo through Case Study 1, I feel like it was not enough. I tried to use it again for my Reverse Engineering of San Gennaro North Gate. In ad-

design tools, I explored fabrication methods, in particular

and the actual process of building the formwork (may it be traditional or through digital fabrication) until the ﬁnished results. I realized that digital fabrication can be such a helpful aid to fabrication method. It makes the process faster, more eﬃcient and much more accurate. However, since this is our

ﬁrst time in exploring the casting methods, there are some

issues that we faced, that I hope I can tackle and explore more in Part C of this process. This reminded me of the Week

2 reading, regarding the attaining the beneﬁts of Vitruvian Eﬀect, where man and machine relationship is optimized.1

Lastly, we were given the opportunity to start to think as a

designer by creating a proposal for the brief Responsive Skin . It was a really challenging method of trying to combine the computational design aspect to the designer as-

pect of the whole process. It was hard to design, while being constrained by the skills and knowledge of Grasshopper. In

this part, I ﬁnd that computational design skills might actually be a limiting aspect. Then again, during this process, we

were able to create a design proposal by thinking about the context.

Overall, after reaching the end of Part B and realizing that

digital architecture is a strong driver for architecture in the future, I would like to develop a more focused skill that will

help aid my design proposal. I would also like to make a more

detailed understanding of our own proposal and the methods of its production. I hope to reach the optimum material

selection and method through the use of digital fabrication

and computational design. I am looking forward to working

with my groupmates and see what ﬁnal outcome we will be able to produce!

1 Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 1.

BIBLIOGRAPHY About Building , EIGHT EXHIBITION STREET, 2017 <https://www.8exhibitionst.com.au/about-building> [accessed 11 September 2017] Iwamoto, Lisa, Digital Fabrications, 1st edn (New York: Princeton Architectural Press, 2009). Joucka, Riyad, Hybrid Biostructures: The Final Post , Hybrid Biostructure, 2012 <http://hybios.blogspot.com.au/> [accessed 11 September 2017] K.G. Voussoir Cloud . Architect 98, 8 (2009): 58-61 Peters, Brady, Realising The Architectural idea: Computational Design At Herzog & De Meuron , Architectural Design, 83 (2013), 56-61 <http://doi.org/10.1002/ad.1554>. POLYP.Lux ‒ Softlab , Soft Lab Architecture, 2017 <http://softlabnyc.com/portfolio/polyp-lux/> [accessed 11 September 2017] San Gennaro North Gate ‒ Softlab , Soft Architecture Lab, 2011 <http://softlabnyc.com/portfolio/san-genarro-northgate/> [accessed 11 September 2017] This Modular Green Wall System Generates Electricity From Moss , Archdaily, 2016 <http://www.archdaily. com/782664/this-modular-green-wall-system-generates-electricity-from-moss> [accessed 11 September 2017]

B.8 APPENDIX

During these past few weeks, I tried out several video tutorials. Including those that would help me further understand the technique of tessellation.

However, these are a few of the algorithmic sketches that I ďŹ nd is interesting and might actually help me with the idea of tessellation.

These forms or designs are generated using Relative Item . It is a further take on learning tree data and menu. It is a very interesting tutorial as it is highly relatable to the technique I have chosen. By altering diďŹ&#x20AC;erent funcitons based on coordinates and data, I was able to generate distinct and diďŹ&#x20AC;erent forms of patterns from the original shape of a sphere.

d -

DETAILED

D DESIGN

AIM: Reducing Sun Intensity through the use of Modular Devices. CLIENT: People Inside E&Y Building

C.1

SITE: 8 Exhibition St. (E&Y Building)

DESIGN CONCEPT

INITIAL DESIGN PROPOSAL URBAN CORAL: ATOLL FACADE During the interim presentation, we proposed a design concept named URBAN

CORAL: ATOLL FACADE , with the people inside the oﬃce or users being our clients and EY Oﬃce Building as our site.

Our design proposal has 3 objectives we would like to achieve.

H E

FIRST: We aim to reduce solar heat gain into the building and blocking intense summer sunlight.

SECOND: We also aim to still retain the highly appraised view that could be seen from inside the building, even if our modules cover the facade.

THIRD: We aim to add a green facade into our design. The usage of plants will

help immensely to reduce the heat gain into the building and help face the issue of Urban Heat Island in the CBD.

These three objectives will be fulﬁlled through the use of 4 diﬀerent modules.

One of the module will have no depth and largest perforation to prevent the module from blocking the views. Another will have the longest depth to block

the summer sunlight from coming into the building while still allowing winter sunlight to enter. The other two in between will work as a module that has diﬀer-

ent depth and perforation size which varies depending on the diﬀerent radiation levels.

Although not shown in the perspective diagram, we intend to make design dif-

ferent shapes for different modules, with different depths and perforation sizes. Each module would cater different purposes as mentioned before.

APPROXIMATE ARRANGEMENT OF MODULES MODULE 1

MODULE 2

MODULE 3

MODULE 4

100

FEEDBACK

CONSIDERATION TOWARDS WINTER AND SUMMER SUN ANGLE (FEEDBACK #1) NOITAIDAR RALOS THGILNUS &

In the initial proposal, we designed connection clips that will serve as a con-

nection between one module to another. It will go through the slots of the modules. The triangular ends will be used to secure the connection clips between the modules. It will prevent the clips from sliding out of the slots.

However, this was slightly an underdeveloped design of a connection, that might not be able to secure the modules very well. Thus, we received feed-

back to further develop our connection that will ensure the the stability of the modules.

CONNECTION BETWEEN MODULES (FEEDBACK #2) In the initial proposal, we designed con-

TOP VIEW

nection clips that will serve as a connection between one module to another. It will go CONNECTION CLIPS INTO SLOTS IN FORM STRUCTURE

TRIANGULAR ENDS TO LOCK AND SECURE MODULES TOGETHER

through the slots of the modules. The triangular ends will be used to secure the con-

nection clips between the modules. It will prevent the clips from sliding out of the slots. However, this was slightly an underdevel-

oped design of a connection, that might not be able to secure the modules very well. Thus, we received feedback to further devel-

op our connection that will ensure the the stability of the modules.

POSSIBILITY OF FLEXIBILE FABRICATION AND DESIGN (FEEDBACK #3) For the initial proposal, we were focused on designing a responsive facade for the E&Y Building. However, we

were then given feedback to think about the opportunities to make our design to be more ï¬&#x201A;exibile in terms of fabricaiton and design concept.

It may be done through it shapes, functionality, or the concept in theory itself.

101

PRECEDENTS

GAUDI S HANGING CHAIN MODEL

Upon further researching methods of form-finding and model-making, we encountered an interesting project which reminded us of our own method of model-making and form finding: Gaudi s Hanging Chain Model. His method of form-finding made us realize that analog methods are sometimes necessary in model-making/form finding. In our case, in order to make our proto-

type similar to that of the digital design, understanding the material behavior through analog methods is really important. His work in particular is similar to

our design concept, as it uses gravity to create the form. This ensure us that

our method of pulling fabric is a way to achiev the Kangaroo/Grasshoppergenerated form.

102

VOUSSOIR CLOUD - IWAMOTO SCOTT Voussoir Cloud, on the other hand, is an opposite of the Gau-

di s Hanging Chain Model. It requires computational programs such as Kangaroo/Grasshopper to create its form.

Together with the analog method, we aim to use this computa-

tional method to create the desired form for our modules and design concept.

MOSS VOLTAICS ELENA MITROFANOVA & PAOLO BOMBELLI As mentioned before, this particular precedent inspired us in terms of materiality and functionality. This modular system uses moss to generate electricity.1 Its system of casting also inspired us to explore the method of casting. Together with Kuma s work, we were also interested in incorporating green facade into our work to lessen solar heat gain and solve issues of Urban Heat Island in Melbourne CBD.

HYBRID BIOSTRUCTURE - AA SCHOOL OF ARCHITECTURE We are heavily inspired by this precedent. The membrane-like form, but still incorporating the method of casting pushed us to the exploration of lightweight casting. The perforations in this structure was aimed to pull hot air from a space and let it out of the internal space under it. This particular precedent is particularly relevant to our design in terms of the use of unary force as part of the design and relation to heat gain. Although it does not work as a facade, but as a roof, it helped us understand the logic behind implementing heat analysis into a design.

103

IDEA DEVELOPMENT ADDRESSING FEEDBACK #1: CONSIDERING WINTER AND SUMMER SUN ANGLE

INITIAL MODULE ARRANGMENT Initially, arrangement were made using 4 diﬀerent geometric shapes derived from a triangle. However, upon trying to un-

derstand the Grasshopper s logic ﬂow for its arrangement, we realized the faults and errors that might arise due to these 4 diﬀerently shaped modules.

As can be seen from the example diagram on the right, a par-

allelogram is supposedly the designated module that should be used to cater the shading need of the particular area, but it could not ﬁt due to the surrounding modules. It does not have enough space to be placed in that particular area.

MODULE 1

MODULE 2

MODULE 3

MODULE 4

This could create a problem to the arrangement of the other modules and as a result, not all areas could receive the module that it supposedly needed in order to receive optimum shad-

ing. We tried ﬁguring the logic ﬂow and Grasshopper, and this created a problem when trying to generate its arrangement.

All the modules become misplaced and does not cater the shading needs of the area.

Thus, as a result, we developed the design of each modules

in order to solve this problem. In addition, we also took into

consideration the feedback regarding the winter and summer sun angles.

The modules will be made out of concrete in real life. Tones or shades depends on client s aesthetic desires.

104

MDEVELOPED E N T MODULE ARRANGEMENT

Instead of having four diﬀerently shaped frames for all the modules, we realized that it would be more eﬃcient

to to use the same shapes for all the modules frames. All modules can be guaranteed to fit. There will be no problem in the arrangement, because instead of different shaped frames, only its internal extrusion differs in shape. In addition, this will increase feasibility for the

connections between modules, as there is consistency in the shapes of the modules frames.

For example, as seen in the diagram on the left, all the frames are hexagonal, but the shapes inside diﬀers.

These shapes will determine the shape of the extruded shading element.

For this project, we are using hexagon as an example for the prototype. This is because it is capable of including

other shapes, such as trapezium, parallelogram, and triangles, as shown in the diagram.

TRAPEZIUM

HEXAGON

PARALLELOGRAM

We tried putting the other three shapes inside the hexa-

Instead, for the last module, we decided to use a module

extruded element (shown as the shaded area) is based on

the external surrounding. This is for areas that does not re-

gon: trapezium, hexagon, paralleogram and triangle. The the outer perimeter of the shape inside the frame, as can be seen in the diagram above.

We decided to exclude using the triangle inside the frame,

made out of glass. This is a module that oﬀers full view of

quire anymore shading, but would still need the hexagonal modules as connection to other modules, or for aesthetic purposes.

as it would not create a suﬃcient nor eﬃcient shading de-

vice. It does not give enough shade as shown in the diagram on the right.

105

LOGIC FLOW - FINAL MODULES

CURVE

MOVE LOFT

EXPLODE

MESH UV

MESH JOI

CURVE

Explode the Lofted Su into a mesh. Create the curves and hexagonal frame using Polyline in Rhino and set it to the curve in Grasshopper.

106

Separate the edges of mesh edge at the mos will become the ancho spring from Kangaroo

WELD VERTICES

MESH EDGES

POINTS

END

CREATE SET

SPRING

(ANCHOR POINTS)

MESH UNARY FORCE

RESULT

urface and make it

f the mesh. The st top and bottom or points to the o.

Add the frame in Rhino.

107

M O D UMATRIX LE FORM-FINDING PROPOSAL I T E R AT I O N S M AT R I C

Z = -50 RL = 0 M = 200

Z = -50 RL = 0 M = 50

Z = -50 RL = 10 M = 50

Z = 100 RL = 10 M = 200

Z = -50 RL = 0 M = 200

Z = 100 RL = 0 M = 200

Z = -50 RL = 0 M = 200

Z = -35 RL = 10 M = 50 D = 20

Z = -35 RL = 10 M = 50 D = 30

Z = -35 RL = 0 M = 50 D = 10

Z = 0 RL = 0 M = 80

Z = 60 RL = 20 M = 80

02 SELECTION 02

Z = -50 RL = 0 M = 200

03 SELECTION 03

Z = -35 RL = 10 M = 50 D = 10

VECTOR Z = Z VECTOR Y = Y REST LENGTH = R Z MOVEMENT = M ANGLE IN DEGREES = D

108

PROCESS

SELECTION 01 Z = 80 RL = 10 M = 130

Z = 60 RL = 10 M = 200

Z = 100 RL = 10 M = 130

Z = 100 RL = 20 M = 200

Z = -50 RL = 0 M = 200

PROCESS:

Z = 60 RL = 20 M = 80 D = 20

Z = 200 RL = 20 M = 40 D = 20

Z = 60 Y = 13 RL = 20 M = 200 D = 20

Z = -50 Y = 10 RL = 20 M = 100

Each module was made using Rhino, Grasshopper and most importantly Kangaroo Plug-In. The Kangaroo Plug-in simulates a fabriclike movement and allows for a simulation of gravitational pull. Different extrusions, angles/tilts, relaxation level of the fabric in order to create different variations. Creating different variations allows us to eventually meet the right options.

109

SUNLIGHT INTENSITY &RSUN SUNLIG HT EXPOSU E A NPATH A L Y S IANALYSIS S S U N PAT H D I A G R A M

ADDRESSING FEEDBACK #1: CONSIDERING WINTER S U N L I G H T E X P O S U R E A N A LY S I S AND SUMMER SSUN ANGLE U N PAT H D I A G R A M

During the interim presentation, we were given feedback to

After producing the matrix for each module, we assessed its eﬃ-

angle. We did an analysis understanding the winter and summer

We analyzed whether the depth and angle of extrusion for the

consider the different angle between winter and summer sun sun angle. This way, we are able to find the effective angle of extrusion for each module.

ciency and usage using the sunlight intensity analysis in LadyBug. modules is enough to provide suﬃcient shading for the area it intends to cover.

Through the LadyBug Analysis, we are able to gather data re-

Alongside with assessing its aesthetic qualities and ease of fab-

age temperature solar irradiance for each facade. The spectrum

is done by attaching the modules onto the building model and

garding the sunlight intensity, and produce map of the avergoes from red to blue, where red is the most solar irradiance and blue is the least. As can be seen in the diagram below.

rication, we assessed the modules through its functionality. This

seeing whether it can block the summer sun and let the winter sun in.

Through this analysis, we also realized that it is important to nar-

row down our aim for this project, thus we developed our aim

to be: REDUCING SUN INTENSITY BY USING MODULAR SHADING

110N

DEVICES.

DD EE VV EE LL OO PP MM EE NN TT 01

SELECTION CRITERIA MODULE

M OMDOU DL EU LPE A PNAE N L SE L S

E LM EE O V AV I EOT 0N UT LA 1 V L ED IO N I EVW IEW

VMIOSD UUL EA 0L2 I Z A T I O

FRONT VIEW

04 M OM DO U LDEU L0 E1 0 1

MODULE DEVEL

M OM DO U LDEU L0 E2 0 2

0M 1O D U L E

MODULE 03

V I S U A L I Z AT I O N

TNEMPOLEVED ELUDOM

FRONT VIEW

N O I TA Z I L A U S I V

SELECTION CRITERIA

MODULE P

OM DO U LDEU L0 E3 0 3 M OM DO U LDEU L0 E4 0 4 AllMthe products in the matrix are assessed according to the following

criteria, and the iterations that fulﬁlls these three criteria the most/best is

SLENAP ELUDOM

then chosen as the ﬁnal modules.

WEIV TNORF

AESTHETICS

Aesthetics is an important aspect in the selection criteria. It is important to have modules that have a that design meets a certain standard of aes-

thetic quality. This selection criteria is fairly subjective and depends to the

10 04 MODULE

client. For this case, it is based on our standard of aesthetic quality and compatibility with the E&Y Building. EASE OF FABRICATION

This is a very important aspect in assessing the matrix. This is used for 0 ELUDOM 10 ELUDOM consideration towards cost and time for producing the prototype. It is

also to ensure that with the cost and time we invested, a high quality physical prototype can be produced. FUNCTIONALITY

As mentioned in the Sunlight Intensity and Sun Path Analysis, we as-

MODULE

sessed our module based on its functionality. This is the most important selection criteria because it determines whether our module can fulﬁl our aim.

0 ELUDOM

30 ELUDOM

111

MODULE MODULE PANELS MM OO DD UU L EL EP A NN E LE SL S PA

V I S UEALLE IVZ AA TT II O O E LE EL V AA T ITOI O N EV

TNEMPOLEVED ELUDO FRONT VIEW

N O I TA Z I L A U S I

VELE

SLENAP ELUDOM

MODULE 01 MM OO DU D LUEL E0 10 1

20 ELUDOM

MODULE 03 MM OO DU D LUEL E0 30 3

MODULE 02 MM OO DU D LUEL E0 20 2

WEIV TNOR

10 ELUDOM

MODULE 04 MM OO DU D LUEL E0 40 4 4

40 ELUDOM

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30 ELUDOM

SELECTED FINAL MODULES E DEVELOPMENT 01

ON 1: 1 Model Measurements (for E&Y Building) 02

MODULE PANELS

ELEVATION VIEW MODULE 01

Module 1:

MODULE 02

Angle of tilt: 30 Deg Depth: 210 cm Height: 340 m Width: 400 m

Module 2:

M O D U L E 0 1 MODULES MODULE 02 MODULE 03 M O D U L EAngle 0 4 of tilt: 15 Degrees All modules will be able to block summer sun and allow Depth: 120 cm winter sun in. The diﬀerence in depth and angle of extrusion is to accomodate the diﬀerent levels of sunlight in-

Height: 340 m Width: 400 m

tensity in diﬀerent levels of the building.

Module 1 responds to the highest range of sunlight inten-

sity. It is designed with the highest depth. This is designed

to block sun from all direction and is for areas that needs the most shading.

MODULE 03

MODULE 04 Module 2 responds to the medium range of sunlight intensity. Module two can be rotated to accomodate sunlight coming from the East or the West. It is designed to

Module 3: Angle of tilt:10 Degrees Depth: 90cm Height: 340 m Width: 400 m

focus on blocking sunlight coming from the sides.

Module 3 responds to the lowest range of sunlight intensity due to the low angle of tilt for the opening. This low tilt also allows users for an almost full external view.

Module 4 does not respond to the sunlight intensity. It is for aesthetic purposes and its function is to allow people in the inside, view of the outside environment.

Module 4: Angle of tilt: 0 Degrees Depth: 90 cm Height: 340 m Width: 400 m

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MODULE DEVELOPMENT

LOGIF FLOW - FINAL ARRANGEMENT OF MODULES ALGORITHMIC PROCESS

114

PMENT

PEN PERSPECTIVES OF THIS

For this prototype and design, we used hexagonal grids, as we decided on using hexagons. From then on, we put

each of our modules in a bounding box. At the same time, we also set bounding boxes to each grid. And by using im-

age sampling, we were able to assign the right bounded modules, into the bounded boxes of the grids.

We used the solar irradiance map image of the Northern Facade of the E&Y Building as an image sampling. Using this image, Grasshopper helped us to determine which

module should be assigned to which area. It changes the tones of the image into numerical data.

We set a certain numerical range into each modules. And if the numbers created by the image sampling ďŹ ts into a

certain range, then a module will be designated to that area.

For this particular logic ďŹ&#x201A;ow, we used the Northern Facade

due to its extreme range of low to high solar irradiance, compared to the other sides of facade. This shows how all the modules works together.

115

116

117

FUNCTION RESULTS: EFFECTS OF MODULES

Each modules are tilted in an angle to ensure that summer sun is blocked while the winter sun is let in. Below is shown

how each module deďŹ&#x201A;ects the summer sun while letting

light and winter sun in to ensure that people inside the building can still receive light.

118

BEFORE ATTACHMENT OF SHADING MODULES

AFTER ATTACHMENT OF N SHADING MODULES

We did a solar irradiance map analysis previously that was used

After getting the arrangements for the modules, we attached it

the image sampling in order to show the extreme usage of the

sis in LadyBug. This is to see the eﬀects of our modules to the

as an image sampler. We opted to use the Northern facade for

shading modules. This is because the Northern Facade receives the most sunlight intensity.

As can be seeen, the top-mid area of the facade receives a high amount of intense sunlight. These area, especially, needs the modular shading devices.

to the E&Y Building Northern Facade and ran the radiation analybuilding.

After running the analysis, we could see the the eﬀects of the

modules are quite signiﬁcant. The average heat received every

year decreased. Although it does not completely cooled down to the dark blue color. It shows that the building still receives

sunlight. This might be from the winter sun. This means that the E&Y oﬃce building will still receive sunlight, which is the aim of the design.

119

FLEXIBILITY IN FINAL DESIGN ADDRESSING FEEDBACK #3: POSSIBILITY IN CREATING A FLEXIBLE DESIGN

P O S U R E A N A LY S I S

Eﬃciency in the shading device has created a ﬂexibility in the

Using LadyBug, it can be assessed at which point the sun angle

design intention.

to see the sun angle at diﬀerent points. If at a point we can see

design choice. Voids can be created, depending on the client s

Areas that are suﬃciently shaded by the modules above it does not require shading modules to cover it. This is shown in areas shaded purple. As a result, voids can be created. This is a design

option for clients that does not want the whole facade covered and packed with the modules completely.

120

has been blocked by the shading devices. LadyBug allows for us

that the sun angle is already blocked, than a shading device in that particular area is unnecessary.

Aside from the voids, the MDF Formwork we designed allowed

As ďŹ&#x201A;exible a fabrication or design method is, there is still a limit.

for hexagonal grid, the formwork allows us to create trapezium,

case, although there are multiple options of shapes, the form-

aesthetic desires.

formwork was designed to create these four shapes. Any other

us to produce diďŹ&#x20AC;erent shaped modules. Although we opted

parallelogram, and triangular grids. This depends on the client s

There will be slight change in arrangements and shading forms, but overall, the fabrication method will be fairly similar.

Flexibility itself is measured due to a known boundary. In this

work could not create ALL or ANY shapes the clients desires. The shapes they requests would mean a redesign of formwork and arrangements.

121

122

123

124

This is the internal view of when the modules are attached to the E&Y Building. As can be seen, views to the external environment can still be seen. Views are not disrupted. The modules are designed to be 3m high, to avoid disrupting views. As can be seen, sunlight can still enter to allow light in, but intensity is reduced; increasing comfortability.

125

There is an aesthetic ďŹ&#x201A;exibility that can be achieved in the design. May it be the shade of concrete or even the option to create voids and adding vegetations. This can help reduce solar intensity and work as a shading device as well. Adding vegetations will require further engineering in the design, however, this shows that our design allows for this option, if the clients were to opt it.

126

127

LARGE MODULES ON SMALL BUILDING This is an example for flexibility of our design. It can be assigned to a small building. The aesthetic effects becomes different from that of the E&Y Building. The shading elements can have its depth adjusted to accomodate the shading needs of the particular area and building. As can be seen in the diagram above, in a small building, users are more able to interact with the modules.

128

NGS SMALL MODULES ON SMALL BUILDING Sizes of modules can also be changed by changing the size of the formwork while still having the the same design. It has a different effect rather than the large modules. This way it can create a similar aesthetic of the E&Y Building but in a different scale. In a small building, adding vegetations can also be an option by rotating module 3 and making it into a pot. Of course, as mentioned before, adding vegetations require further engineering.

129

C.2

TECTONIC ELEMENTS & PROTOTYPES

130

MATERIAL AND FABRICATION In real life, we designed for the material to be concrete. However, for prototype, we will be using plaster to simply understand casting methods. Although there is difference in material characteristics. As we developed our design concept digitally using Grasshopper, LadyBug, Kangaroo and Rhino, it is time for us to continue developing the methods of constructing our prototypes. Using the results we have from Prototype #1 and Prototype #2, we have decided to keep some of the methods that can help us create a successful model. Our main concern for the final model is its weight, finished texture and connections. We wanted to achieve a lightweight shell structure with a smooth texture (but still showing the fabric folds),

and have a connection that could work. We also tried out a new method of digital fabrication during this stage: Vacuum Forming and 3D printing. In the end, combining these methods of digital fabrication and analog fabrication, we were able to reach the desired outcome in our prototype. We were able to realize the advanatages and disadvadvantages of using machine fabrication, and how to overcome these disadvantages using human fabrication. The opportunity to try diﬀerent methods and prototypes helped us to understand the characteristics of the materials we have been handling, in order to ﬁnally come up with the desire outcome.

131

132

PROTOTYPE 1 & PROTOTYPE 2: LEARNING OUTCOMES DEVELOPMENT: PROBLEM SOLVING

PROTOTYPE #1

After the interim presentation, we realized that we would CASTING OUTCOME like to create a lightweight model with a smooth ﬁnish with fabric folds included, and has its frame cast into it.

PROTOTYPE #1

have decided to use the method of casting into the Y P E Thus, # we2fabric scuba from Prototype 1 in order to keep the smooth

OME

ﬁnish. Casting into the fabric also helps to create the eﬀects of fabric folds more evident rather than brushing PROS

CONS

+ We s u c c e e d e d i n m a k i n g t h e o p e n i n g i n t h e m i d d l e o f

- M o d u l e w a s c o n s i d e re d t o o h e a v y t o b e a p p l i c a b l e a s

t h e m o d u l e , u s i n g s t ro f o a m a s m o t h e r m o u l d

a facade

+ T h e o rg a n i c n i s h o f t h e f a b r i c w a s e m b e d d e d t o t h e

- J o i n t i n g s y s t e m w o u l d f a i l , i n re g a rd s t o t h e w e i g h t

module

- F a b r i c w a s a b l e t o b e s t re t c h e d , b u t n o t a s m u c h a s

+ Clean finish

w e w a n t e d t o c re a t e a c o n i c a l s h a p e

+ Form was successful in delivering the form we wanted + F a b r i c w a s a b l e t o a b s o r b m o i s t u re o u t f ro m t h e p l a s t e r m i x t u re

PROTOTYPE #2 We have decided to retain the shell thickness from prototype 2 into our ﬁnal model. We also would like to use the method of using the laser-cut frame and attach it to the form itself.

133

PROTOTYPE #1

134

PROTOTYPE #2

SOLUTIONS

DEVELOPMENT: PROBLEM SOLVING After the interim presentation, we realized that we would like to create a lightweight model with a smooth ﬁnish with fabric folds included, and has its frame cast into it.

THIN AND LIGHT WEIGHT FORM We realized that the mistake we made during the ﬁrst prototype was the shape and size of the perforation mould. This resulted in a solid form instead of a shell. Thus, to solve this problem, we have decided to create a perforation mold that follows the shape of the form.

SMOOTH FINISH WITH FABRIC FOLDS For this, we have decided to use the scuba fabric to cast the plaster into.

FRAME CAST INTO THE FORM Similar to Prototype 1, we decided to cast our frame for connections into the form. However, the connection for Prototype 1 was too brittle. So we decided to use the laser cut frame from Prototype 2, and cast it in together with the form. This would be impossible to do so with the MDF formwork that we made (shown in picture of Prototype #2 on the left). Thus, we will be casting a mother mould into the fabric using the MDF formwork, and then vacuum form the mother mold to create a plastic formwork. This way, we can set the frame inside the plastic formwork, and cast the ﬁnal model. Further explanation regarding this process will be shown in the diagram on the next page.

135

1 We decided to use the scuba fabric for our developed prototype. We wanted to achieve the smooth ﬁnish that we were able to accomplish in Prototype #1. As the laser-cut formwork we made for Prototype #2 was proven to be successful, we re-used it for the next fabrication.

5 Before vacuum forming, we have to cover the mould with Vaseline, so that we can easily get the mould out of the vacuum formed plastic. We placed the frame and our mother mould. We used the 1mm Polypropylene Clear Plastic. It was a challenging process as the outcome cannot be guaranteed. Trial-and-error was needed at times.

136

2 We placed the laser cut hexagon to pull the fabric. It is cut in the size of the opening for the module. We plan to have different opening sizes for different modules. This means, for different modules the size of the laser-cut hexagons will differ.

6 This was the result after getting the mould out and cleaning the plastic from the Vaseline.

PROTOTYPE #3 PROCESS

3 For this stage, the consistency of the plaster mixture is not as important as the strength is not important. We only need the result to create the mother mould for the vacuum forming (plastic formwork). So in order to save plaster and cost, we reduced the volume of plaster powder and increased the volume of water.

7 We then casted our prototype into the plastic formwork. We set our negative mould (laser cut and assembled using sealant) in the center. We also placed our frame into the formwork, as we plan to cast it into the form. We also used our 3D printed rectangular cubes and slide it in the holes on the frame. This is so that the holes would remain hollow for connections between modules.

4 We waited the next day to take out the mould we made. This is to ensure that it is dry enough to be used for vacuum forming.

8 We left it for one day, and after it was dry enough, it was time to get the 3D printed slots out of the frame. We used a hammer and a thin steel to knock the slots out.

137

138

EGATIVE MOULD DEVELOPMENT:

PROTOTYPE #3 RESULT For Prototype #3, we were able to solve some of the problems that we encountered when fabricating the previous prototypes. PROS: We were able to attain the smooth finish and large perforation. CONS: It was still slightly heavy as we did not design the negative mould correctly. In the end we were not able to achieve the thin shell thickness. Instead, we created a solid form with an opening in the center. The frame area also cracked due to the thinness of plaster surrounding it. The offset of plaster surrounding the frame was not thick enough. The cracks was also caused because we did not glue the 3 layers of MDF frame beforehand. This created movement inside when we were getting the model out of the formwork. We were also unable to create the hollow rectangle (for connection) through the frame. This was because the base of the frame-area on the plastic formwork was not straight. Thus, the 3D printed slots was not able to stand straight on it, allowing plaster to seep through. PLANS FOR DEVELOPMENT: Although there were some cons with this technique, we decided to go through with a same technique for the next prototype. We came pretty close to achieving our desired outcome. The solidity can be resolved by fixing the shape of the negative mould. As shown in the diagram on the left. Instead of just a plain hexagonal prism, it should follow the shape of the external form, which is pyramidal. We also decided to perfect the method of vacuum forming, as the problems caused in this prototype was mainly due to the imperfections of the plastic formwork. An important note is to create plenty of space in the frame area of the plastic formwork. This is so that we can ensure that there is a thicker layer coating the MDF frame, avoiding cracks and a stronger frame.

139

VACUUM FORMING

As mentioned previously, vacuum forming is a tricky method. It is more art rather than science. Accurarcy is not promised each time we try it out. We have been using 1mm Clear Polypropylene for the Vacuum Forming. The process requires for the machine to heat up the plastic. We should always keep an eye on the temperature of the plastic. Us, the users, determine buy using touch or sight, whether the plastic is hot enough to be used. We often face problems of not being able to tell if the plastic is at the right level of temperature or not. This is because we are afraid that if we heat the plastic for too long, it would melt.

A problem that we faced during the ďŹ rst few attempts was getting the sharp edges we need in order to allow us to set the frame into the plastic formwork. We also have problem for the vacuum former to follow the form of the mother mould completely .

140

PROBLEM WITH VACUUM FORMING

Then, after a few failed attempts, we asked the help of the FabLab Guru again to ask for a solution to this problem. He suggested for us to laser cut several hexagonal frames that are slightly bigger than the original MDF hexagonal frames. This slightly bigger hexagons will be used to push down the frame s perimeter on top of the heated polypropylene. This is in order to create the sharp edges as can be seen in the picture. This helped us a great deal. By ďŹ xing this method of vacuum forming, we are more likely to succeed in the casting process.

141

142

PROTOTYPE #4 While we were thinking of ways to improve our previous casting methods, we found another material that could help solve the problem regarding the weight and shell-thickness. It is Air-Dry Clay that we found in Bunnings. It is done by wetting the hands and take chunks of the clay and kneading it to the plastic formwork. PROS: We were able to achieve a very light-weight and thin form, which is a huge concern in our fabrication method. CONS: Cracks were inevitable. Although it could be fixed through the use of water and filling the cavity with the clay, it becomes time consuming. In addition, as we apply the clay using fingers, the kneads can be seen. It becomes impossible to achieve the smooth texture we wanted to achieve. This process does not allow us to get the MDF Frames to be built-into the form. CONCLUSION: Although it solved our biggest problem regarding weight, the problems of texture and methods outweighs the benefits that it gives. Therefore, we decided to not continue with this method and just focus on the casting method. We also realized, that for real-life fabricating method, this would be too time consuming and labor-intensive if it were to be fabricated in big sizes. REALIZATION: Also, from this prototype onwards, we have decided to create a slanted form for the opening. This is to create a more dynamic form and a more efficient sun shading device.

143

FABRIC CASTING

MOTHER MOLDS

VACUUM FORMING

MODULE 03

MODULE 02

MODULE 01

toHspeciямБc SScuba C U B A fabric F A B Rstretched IC STRETC ED TO heights and casted with S P E C I F I C H E I G H T S A N D plaster create theP Lmother Cmix A S Tto ED WITH A S T E Rmold. MIX

144

Mother forR Mvacuum M O T H Emold R M Oform LD FO FOR forming formwork VACUUM FORMING MODULE

High H I G Himpact I M P A C1mm T P O Lclear Y S T YPolystyRENE rene sheets are heated and vacuSHEETS HEATED AND umed create V A C Uto UM T O the F O Rformwork. M SHAPES

PROCESS DEVELOPMENT (FOR PROTOTYPE #5) 04

VACUUM FORM CASTING

FINAL OUTCOME 1:10 Scale Model Measurements

Negative molds are placed inside the plastic formwork. Then, plaster mix casted into the red-shaded areas in the plastic formwork.

1: 1 Model Measurements (for E&Y Building)

Module 1:

Angle: 30 Deg Depth: 21 cm Height: 340 mm Width: 400 mm

30 Deg 210 cm Height: 340 m Width: 400 m

Module :

Angle: 15 Deg Depth: 12 cm Height: 340 mm Width: 400 mm

15 Degrees 120 cm Height: 340 m Width: 400 m

Module 3:

Angle: 10 Deg Depth: 9 cm Height: 340 mm Width: 400 mm

10 Degrees 90cm Height: 340 m Width: 400 m

Module 4:

Angle: 0 Deg Depth: 9 cm Height: 340 mm Width: 400 mm

0 Degrees 90 cm Height: 340 m Width: 400 m

145

146

CASTING (ямБnal model)

VACUUM FORMING (plastic formwork)

FABRIC CASTING (mother mould)

PROTOTYPE #5 This process was similar to that what we did in Prototype #1 and Prototype #3. The only changes was that, we started to put the laser-cut hexagon at an angle to create angled form that we desire.

For the last prototype we applied the method of pushing the perimeter of the frame using the slightly bigger hexagon. This helped us a lot during vacuum forming. Although, we were still struggling trying to achieve the right temperature.

Before we casted, we vaselline the vacuum formed formwork. We also put Vaseline on the 3D printed slots in order to slide it out easily after ďŹ nish casting.

147

MOD I T E R AT I

FABRIC CASTING

MODULE 01

F0A I NOG 2 B RMI C O TC HA E RS TM LDS

FABRIC CASTING

Z = -50

M ORTL H= E0 R M O L M = 200

02 SELECTION 02

0023 M OC TH ORLM D SI N G VA UE UR MM FO

00 3 4

VA AC CUUUUM M FFOORRM V Z = -50

MODULE 02

03 SELECTION 03

Z = -35 RL = 10 M = 50 D = 10

MODULE 03

MODULE 01 MODULE 02

MODULE 02

MODULE 01

RL = 0 M = 200

VECTOR Z = Z VECTOR Y = Y REST LENGTH = R Z MOVEMENT = M ANGLE IN DEGREES = D

LE 03

148

ULE FOR M - F&IDIGITAL N D I FORM N G FINDING PROC ANALOG O N S M AT R I C

Z = -50 RL = 0 M = 50

Z = -50 RL = 10 M = 50

As mentioned before in the Precedents section, our fabrication process is a mixture of analog and digital techniques. After making a few prototypes, we realized that this method is an Z = 100 Z = -50 Z = 80 Z = 100 in order to achieve R L = 1 0 R L = 1 0 important stage Rthat L = 0we have to go through RL = 0 M = 2 0 0the desired form. M = 200 M = 130 M = 200 Through the use of computational form-finding, we can find the optimum extrusion, depth and height. However, through the use of analog fabrication, we are given opportunity to understand the material characteristics. The stretching capabilities. Only by doing so, are we able to finally attain the desired form.

Z = -50 RL = 0 M = 200

Z = -50 Z = -50 Z = -50 It is inevitable toR have diﬀerences between the physical proto- ZR L==- 500 RL = 0 L = 0 RL = 0 M = 2 0 0types and the digtial M = 2prototypes. 00 = 2 fabric 00 Such asMthe folds during M = 2 0 0

Z = -35 RL = 10 M = 50 D = 20

Z = -35 RL = 10 M = 50 D = 30

Z = -35 RL = 0 M = 50 D = 10

the actual model-making, was diﬀerent from the ones created on Grasshopper/Kangaroo. Then again, this is not a disadvantage. This is the unique quality that is given by the material characteristics.

Z = 0 RL = 0 M = 80

Z = 60 RL = 20 M = 80

Z = 60 RL = 20 M = 80 D = 20

149

MODULE TO MODULE

We developed our connection between modules. Instead of the triangular clips that we proposed before, we decided to use nuts, bolts and steel plates. This will create a more secure connection between modules.

A 39 mm Hexagonal Head Nuts and Bolts will be used for the connection (Particularly for the size designed for the E&Y Building facade) The thick bolt is used to secure the modules into place. The steel plate is also placed in order to secure the bolts in place. The order goes as: Bolts, Steel Plate, Frame, Steel Plate, Nuts, as shown in the diagram above. In real life, there will be a thin gap in between modules. This is so that if there is any expansion due to heat, there will be room for the modules to slightly expand.

150

H e m

CONNECTION BETWEEN MODULES

Having two sandwiches of steelplates and bolts on each side of the hexagon makes the connection more rigid and secure.

For the prototype, we laser cut the steel plate and used the 4mm nuts and bolts.

REAL LIFE FABRICATION (1:1) & REPRESENTATION (1:20 MODEL) MATERIALS PRECAST CONCRETE The modules will be precast concrete panels. This means that it will be fabricated in the precast concrete factory on a mould casting bed. Using this method will make certain the quality of the modules. Each module will be ensure to reach a high performance and strength. It will save time and cost. As this is a modular casting method, using the precast fabrication method will fasten up process. In the real-life fabrication, the form will include steel reinforcement inside. This is to ensure for high strength and avoid cracks. The MDF Frames of the modules will be high-strength steel frames in construction. PROTOYPE MODEL REPRESENTATION CONCRETE = PLASTER STEEL = MDF PLASTIC FORM = GLASS PANELS

151

FA C A D E

The structural element of this connet 380x100mm Parallel Flange Channel (PF

ANCHORBOLT PFC TO CONCRETE

This will be the structural element that weight of the modules. There will be one to each ﬂoor. It is attached to the conc using four 24mm Chemset Anchor Bolts ticular bolts have resin-based adhesiv that suits high load applications.1

After securing the PFC to the concre bracket is then secured to to the PFC u three 25 steel bolts.

Using 3 bolts will secure the plate into And make the connection more rigid. STEEL BRACKET TO PFC

This steel plate is then used to carry the will be secured using 25mm bolt, drille the concrete and steel frame of the mod 03

Each module will be carried by two st Ensuring balance and security. STEEL BRACKET TO MODULES

The connections of the modules to the facade requires structural steel members. We found out that the E&Y Building has concrete ﬂoors, which allows us to attach the structural members on the ﬂoors. This will avoid the structural members from blocking the views from inside the building.

152

We found the 1:10 Scale version of bracket that we could use for our pro Bunnings. We also saw other larger siz plates that can be used for the real-life tion.

tion is the FC).

carries the e attached crete ï¬&#x201A;oor s. This parve system

CONNECTION TO EXISTING FACADE FA C A D E C O N N E C T I O N

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What are Chemical or Chemset Anchors? , Scrooz, 2017 <http://www.scrooz.com.au/blog/what-are-chemical-

or-chemset-anchors/> [accessed 15 October 2017].

153

C.3

FINAL DETAIL MODEL

154

155

156

CASTING (ямБnal model)

VACUUM FORMING (plastic formwork)

FABRIC CASTING (negative mould)

PROTOTYPE #5 PROCESS PICS

157

MODULE 1 SCALE: 1:20 158

Module 1 responds to the highest range

of sunlight intensity. It is designed with the highest depth. This is designed to block sun

from all direction and is for areas that needs the most shading.

159

(ASSUMING MODULES ARE PLACED IN NORTH FACADE)

(MORNING) 160

(NOON)

(AFTERNOON) 161

SCALE: 1:20 162

MODULE 2 MODULE 2 is a unique module compared to the other modules. It is designed to be slightly more ďŹ&#x201A;exible than the others and to focus on blocking Western and Eastern Sun. It can be rotated to be a shading device that shades the sun from the West or the East. Depending on the location or area on the facade it is placed.

163

(ASSUMING MODULES ARE PLACED IN NORTH FACADE)

(MORNING) 164

(NOON)

(AFTERNOON) 165

MODULE 3 SCALE: 1:20

Module 3 responds to the lowest range of sunlight intensity due to the low angle of tilt

for the opening. This low tilt also allows users for an almost full external view.

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167

(ASSUMING MODULES ARE PLACED IN NORTH FACADE)

(MORNING) 168

(NOON)

(AFTERNOON) 169

170

MODULE 4

SCALE: 1:20

Module 4 does not respond to the sunlight intensity. It is for aesthetic purposes and its function is to allow people in the inside, view of the outside environment.

171

172

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SITE MODEL SCALE: 1:20 MORNING

N NOON

SECTION VIEW

N AFTERNOON

N N : NORTH

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PROTOTYPE #5 RESULTS

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Through series of prototyping, trials and errors, we were finally able to achieve the finishes that we desired. Then again, there were still pros and cons that arise using this method. PROS: We learned that in order to achieve the complete lightweight quality, we have to wait around more than 3 days to let the modules air dry after taking it out of the mould. We were successful to achieve the light quality. We were also able to achieve the shell thickness that we desired, due to designing the correct negative mould. In addition, a smooth texture was attained due to the use of scuba fabric and vacuum former. We succeed in getting the hollow rectangles for the connections. As we finally get the method of vacuum forming correctly, we were able to set the frames and 3D printed slots correctly, creating the hollow rectangles when casting the modules. CONS: Although we could attain the smooth textture and were able to get a certain thickness surrounding the modules frames, cracks were inevitable. This is beause of the lack of steel reinforcement. After further research, we found out that placing steel reinforcement meshes helps to add tensile qualities to a compressive plaster/concrete. This helps reduce cracks. In the 1:1 fabrication, steel reinforcement meshes would be needed to add strength and tensile qualities.

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The 12 Weeks in Studio Air is

opened a pathway to a new

riences regarding computati

always known of its existence

me the opportunity to furthe

I was given the chance to lear

parametric designing. This w

course as much as computat

designers still need to be the

proceed further into the pro

designing methods are still ve ence is very much required.

I realized that since it has bee

at times, it becomes a hinde

Grasshopper. Then again, I d

Grasshopper as a design tool

can even increase eﬃciency,

to this limitation, the outcom

tage or disadvantage. Grassh

minds cannot think of. Howe not generate the forms that

the workﬂow and the design

Nevertheless, considering tha

per has been a very helpful t

very much respond to it surr

gives us the information and

per and digital fabrication ha ily alter the size and shapes.

forms. In the end, we have t

order to pick the right forms/

C.4

LEARNING OBJECTIVES & OUTCOMES

180

In addition to computationa

garding digital fabrication an cutting and 3D printing, but

instead of as the ﬁnal produc

A very interesting and new k

cation is the Vacuum Formin

not guarantee accuracy each

process, it might result to diﬀ

vantage. It may be a disadvan

deﬁnitely a roller coaster. It is a challenge that was

want to attain beforehand. However, its unpredictability can result to unique

ional design, an area I was unfamiliar with. I have

computational/ Grasshopper design.

w perspective. I have learned so many new expe-

e, but never dove deep into it. Studio Air has given

forms that we could not think of before hand. In theory, it works similarly as

er understand it.

Lastly, we did not realize how much MULTIPLE amounts of Prototyping is very

rn and explore the world of algorithmic, digital and

the process of casting. As much as we plan things thoroughly, it is very hard

was a very eye-opening experience. Then again, of

tional design can help push design further, human

e ones in control. This becomes more evident as I

ojects. As can be seen in our group project, analog

ery much required. At every stage, human interfer-

en just a short period of time in using Grasshopper,

er as we lack the knowledge to design freely using

do believe that if I have enough knowledge, using

l is very helpful to increase accuracy and at times it

essential to a fabrication process. We learn through trial and error. Especially in

to achieve what we exactly have in mind. However, each outcome will always result to an interesting product.

The project and brief itself has given us the opportunity to understand what it means to design and critically think of the surrounding atmosphere, envi-

ronment and conditions. It became our aim to create a facade design that can become an optimum shading device. It was a new experience, because our focus was the relationship between the E&Y Building and the solar analysis. We

were focused on the technical aspect of designing, while still considering the aesthetic qualities.

, just like a machine. This means that at times, due

The tutorial discussions were also very eye-opening. We were taught to think

hopper can be a tool to create forms that human

E&Y Building, but the tutorial discussions made us realize how we can push our

me is not as expected. This may become an advan-

ever at times, due to its complicated manner, it can-

designers have in mind. Its eﬃciency depends on

ners knowledge themselves.

at our brief is RESPONSIVE SKIN , using Grasshop-

tool. We were able to design a facade system that

beyond the scope I was used to. At ﬁrst, we were focused on designing for the

proposal beyond that idea. We then analyzed the ﬂexibility of our design: both

physical and digitally. It made us think way further than what we have right in

front of us. Although we did not make the physical model, it deﬁnitely changed the way we think about our design. We think about the potential that it could achieve. It made me assess the process of design in a more critical way.

rounding due to the usage of LadyBug Plug-in. It

What I am glad that I have achieved in Studio Air, is the ability to combine

as also given us ﬂexibility to our design. It can eas-

Grasshopper with something simple as Image Sampling in order to come up

d accuracy that we need for our design. GrasshopGrasshopper provides us with so many diﬀerent

to evaluate these diﬀerent forms with the brief in

the diﬀerent techniques in Grasshopper. Combining the gravity simulation of with a design.

/design.

To conclude, Studio Air has given me the opportunity to explore both the digi-

al design, we have gained so much knowledge re-

could change the world of architecture. It can be a change for the better or for

nd casting. We have always known regarding laser

I have never thought of using them as formworks

ct itself.

tal and physical realm. And how combination of these two is an innovation that the worse depending on the users. I am aware of my lack of knowledge in the

programs we have been using throughout the semester, but I do believe that by continuing this skill, I ll be able to use it to produce a better result.

knowledge that I gained regarding physical fabri-

Lastly, Studio Air has taught me how cooperation, hard-work, and time man-

h time we use it. Even if we always use the same

ture world. Having such hardworking team-mates such as Rayyan and Sharleen

ng machine. It is interesting in a sense that it does

ﬀerent outcome. This can be an advantage or disad-

ntage if you have an exact picture of what form you

agement is a very important skill when designing, particularly in the architecand a very inspiring tutor such as Mehrnoush has helped me gain a lot of interesting and great experiences throughout the semester.

181

BIBLIOGRAPHY What are Chemical or Chemset Anchors? , Scrooz (2017) <http://www.scrooz.com.au/blog/what-are-chemical-orchemset-anchors/> [accessed 15 October 2017].

IMAGE REFERENCES 1889-Gaudi s Hanging Chain model , List of Physical Visualizations, (2015). <http://dataphys.org/list/gaudis-hanging-chain-models/> [accessed 10 October 2017] Moss Voltaics , Arch Daily, (2017) <https://www.archdaily.com/782664/this-modular-green-wall-system-generateselectricity-from-moss> [accessed 10 October 2017] Voussoir Cloud , Iwamoto Scott, (2008) <https://iwamotoscott.com/projects/voussoir-cloud> [accessed 10 October 2017) HYBrid BIOStructure: The Final Post , HyBios, (2012) < http://hybios.blogspot.com.au/> [accessed 10 October 2017)

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SEMESTER 2 // 2 0 1 7

about me.

end of portfolio.

THANK YOU.