Studioairjournala

STUDIO AIR 2017, SEMESTER 1, MEHRNOUSH KHORASGANI JIAYANG CHEN

PART B. CRITERIA DESIGN

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TABLE OF CONTENTS B.1. Research Field B.2. Case Study 1.0 B.3. Case Study 2.0 B.4. Technique: Development B.5. Technique: Prototypes B.6. Technique: Proposal B.7. Learning Objectives and Outcomes B.8.Appendix - Algorithmic Sketches Biblliography

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B1 RESEARCH FILED

The pattern language con

interact with built forms —

practical solutions develop

appropriate to local custom

PATTERNING Patterning in Architecture is a technique that uses image repetition including re-orientation and rotation of images. The change is normally based on some rules, for example the directions of the patterns are changed based on the angles of the Sun. Contrary to Tessellation, patterning is the process of part to whole. Patterning can create experiential qualities as a communicative medium and aesthetic role, therefore been passed down and remains integral in present day design in architecture. Its ability to Its role however has been challenged throughout history, and its uses and application has garnered very distinct ideological dispositions. Its origins lead back to the use of patterns as a form of ornament adorned on varying built forms, serving a as symbolic decorative element for many buildings of religious and cultural significance.

The history of patterning is related to ornamentation

FIG.1 Galleria di Diana in Venaria Royal Palace - http:

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pattern-language-vs-form-language

ntains rules for how human beings

— a pattern language codifies

ped over millennia, which are

ms, society, and climate.

-Nikos A. Salingaros

://www.archdaily.com/488929/a-theory-of-architecture-part-1-

and often serves as cultural or religious symbolism, specifically in early Christian churches and Islamic mosques. For instance, the Haggia Sophia, Istanbul, a former Christian patriarchal basilica. The interior of this church demonstrates its byzantine heritage through its decoration of flowers and birds in the spandrels of the gallery, as well as mosaics of angelic figures and relative Christian symbolism before it converts to a mosque. Patterning is influenced and consequently replicated through architectural forms to represent a statement of symbol of status.

The idea of pattern and ornamentation was suppressed through the modernism era, Adolf Loos refuted the ornamentation in the book Ornament and Crime (1908) in the age of mass production and mechanisation, suggesting that “Since ornament is no longer a natural product of our culture so that it is a phenomenon either of backwardness or degeneration.” 1 Although the decoration shows a cultural analogy of a specific period, it is not necessarily equivalent to the ornamentation in contemporary culture is dismissed or ineffective.

Loos’ extreme stance has been contradicted by Frank Lloyd Wright, the father of modernism. Robert Venturi also produced modern architectural works that inculcated decorations by displaying raw and honest materials, he redefined ornamentation as, “Ornament is meant to communicate a sense of community. Surface patterns are “independent of the architecture in content and form” and have “nothing to do with the spatial or structural elements” to which they are applied.2

1 Masheck. Joseph. Adolf Looos. The Art of Architecture. n.p.:London : I.B. Tauris, 2013. 2013.

2 Robert Venturi, “Diversity, Relevance and Representation in Historicism, or Plus pa change . . . Plus a Plea for Pattern All Over Architecture ... ,” the 1982 Walter Gropius Lecture, in Architectural. Record ( June 1982)414-119, p. 116

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FIG.2 Haggia Sophia, Istanbul - https://www.pinterest.com/pin/335729347193048453/?lp=true

FIG.3 Hollyhock House, Hollywood by Frank Lloyd Wright - https://www.pinterest.com/ pin/335729347193048453/?lp=true

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Patterning

FIG.4 Newcastle House by Robert Venturi - https://www.khanacademy.org/humanities/ap-art-history/later-europe-andamericas/modernity-ap/a/venturi-house-delaware

Initially the pattern is the additional form of a design which applied to the surface, patterns are integrated into the form since it is no longer limited to two dimensional surfaces. In fabrication, the material of patterns should be considered in order to achieve the desired outcomes. Materials normally constraint the intensive of the patterns.

As far as I am concerned, patterning nowadays are far more than sorely ornamentation, it plays a significant role in architectural design and even in people’s everyday life.

Patterning are evolved to create effects and sensations through rhythmic articulations of geometries and repetitious elements.1 In part B, the patterning will be explored as a communicative tool in the field of parametric architecture. Image sampling and abstracted geometries are frequently used, we will push the skills and knowledge within grasshopper to demonstrate the capacity of parametric design to create highly technical and attractive architectural installations. Most importantly, the exploration of the creativity of an architect and the ability to think algorithmically will enrich the innovation and evocation of architectural designs.

1. Goldemberg, Eric. Pulsation in architecture. n.p.: Ft. Lauderdale, Fla. : J. Ross Pub., 2012., 2012. UNIVERSITY OF MELBOURNE’s Catalogue, EBSCOhost.

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B2 CASE STUDY 01

SPANISH PAVILION

by Foreign Office Architects

The Spanish Pavilion designed by FOA represents Spain in the Aichi International Exhibition in Japan in 2005. The pavilion focused on the architectural potential of hybridisation of the European Jewish-Christian cultures and the Islamic occupation of the Iberian Peninsula between the 8th and 15th centuries. 1 The Pavilion was conceived as a lattice envelope enclosing a series of interconnected vaulted spaces or “chapels”, each constructed as a hexagonal vaulted bubble, with the colours of the Spanish flag, as a re-interpretation of ornate Gothic vaults and Islamic domes. The design employed the patterning technique to create the pattern of the façade, there are only six types of the ceramic tiles. Each type has its specific shape and colour. Six tiles will be count as one set.

The only thing changed is their orientation, this can be achieved by manipulate the internal points within the set of tiles.

FIG.5 Spanish Pavilion pattern - https://www.slide expo-2005-haiki-aichi-japan

1. Spanish Pavilion 2005 World Exposition Aichi Japan. 2005. Simon Glynn http://www.galinsky.com/buildings/spainaichi/

FIG.6 Spanish Pavilion, Japan - https://divisare.c

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eshare.net/kappa2007/spanish-pavilion-

com/projects/272168-foa-spanish-pavilion

Criteria Design FIG.7 Spanish Pavilion, Japan - https://divisare.com/projects/272168-foa-spanish-pavilion

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Matrix Specie 01

Specie 02

#01

Original

Extrusion n=2

#02

Change internal point x=-0.3 y=0.5

Extrusion n=1

Change internal point x=0.6 y=-0.7

Loft

Image sampler

Extrusion x,y,z=2

Image sampler Criteria Design

Extrusion x,y,z=2

#03

#04

#05

10

Specie 03

Specie 04

Apply to a 3D surface Skewed grid with larger hexagon

Offset n=2

Striped pattern

Extrusion n=1

Striped pattern + Extrusion n=1

Skewed grid with smaller hexagon

Larger hexagon + Extrusion n=1

Smaller hexagon + Extrusion n=1

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Larger hexagon + Image sampler

#06

Image sampler

Extrusion n=5

#07

Multiplication n*2

Pipe r=0.1

#08

Square grid

Extrusion n=-1

#09

Radial grid

#10

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Criteria Design Triangular grid

Box morph

Piped

Piped + Offset n=2

Piped + Striped pattern

Piped + Extrusion n=1

Piped + Extrusion + Offset n=1 , n=2

Smaller hexagon + Image sampler

Larger hexagon + piped

Smaller hexagon + piped

Larger hexagon + piped + extrusion n=1

Criteria 13 Smaller hexagon + Design piped + extrusion n=1

SELECTION CRITERIA 1. Creativity: the form of the design and components used.

2. Responsiveness: the ability of the design to respond to environmental changes 3. Resthetic quality: the visual and aesthetic engagement of the design.

4. Constructablity fabricable: mitigating the difficulties in building and assembling of any installation is important. This means that along with other criteria, it has to satisfy the structural quality within the appearance.

5. Design flexibility: the further development potentials of the design.

Selection 1

Creativity Responsiveness Aesthetic quality Constructability Design flexibility Comment: This iteration was created by manipulating the internal points within the series of hexagons. This can be used for shading screen if we extrude it.

Selection 2

Creativity Responsiveness Aesthetic quality Constructability Design flexibility Comment: This iteration was created by extruding the pattern.This can be used for building frames.

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Selection 3

Creativity Responsiveness Aesthetic quality Constructability Design flexibility Comment: This iteration can be used for a shelter, it has the cells that can be installed panels in which allows sunlight penetration.

Selection 4

Creativity Responsiveness Aesthetic quality Constructability Design flexibility Comment: This iteration can be used for a pavilion structure. It could be adopt for my project as a roof over the bridge.

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B3 CASE STUDY 02

AQUA TOWER

by Studio Gang

This project, designed by Studio Gang Architects in 2009 is a Skyscraper with a wave-like patterned exterior that caught my attention. The main exterior feature is the use of multiple curved concrete balconies to create an external wave-like feature that alternates on all sides. The use of patterning technique converts what would have been a flat glass skyscraper to a parametric design that is much easier to identify. The design concept of the building was looking at the rigid, layered features of Limestone rock located by the Great Lakes area. Although it is mentioned that the intent was to visually represent the rigid structure, the wave-like appearance is very curved as opposed to the stones. The layers are present, but it does not make that connection visually.

FIG.8 Aqua Tower inspiration - http://www.quilt-arou content/great-lakes-2005-%E2%80%93-10th-day

The architects had other intentions for the shape of the building that did not just involve the aesthetic qualities.1 The shapes were utilised in the design to maximise solar shading and extend the views from the building.

So, in terms of the function aspect, the building was successful in achieving it.

FIG.9 Aqua Tower parameters -http://studiogang.com

1 â&#x20AC;&#x153;Aqua Tower / Studio Gangâ&#x20AC;? 02 Dec 2009. ArchDaily. <http:// www.archdaily.com/42694/aqua-tower-studio-gang-architects/> 16

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und-the-world.com/en/

m/project/aqua-tower

Criteria Design FIG.10 Aqua Tower, Chicago - https://www.pinterest.com/pin/59391288806538792/?lp=true

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REVERSE ENGINEERING 1. A box is established through extrusion from a set rectangle.

1.

1.

Rectangle

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2. The surface of the box is then divided so, as to create a series of points along its domain.

2.

2.

Extrude

3. Image sampler of the faรงade is used to spilt the AHSV value from.

3.

3.

Divide surface

4.

4. The AHSV value is remapped into an amplitude of -5 to 5 to 1. control the movement o the points.

5.

4.

Image sampler

5. After the points have been moved, an interpolated curve is inputted to connect the points and create curves.

1.

2.

2.

2.

3.

2.

3. of The data is unflattened to ensure the curves interpolated through each direction and not defined as a single curve wrapping around.

5.

6.

6.

6.

7.

6.

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Move

6. Next is to use boundary surface to create surfaces based on 3.

3.

4.

4. these curves.

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7.

8.

7.

7.

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Interpolate

8.

7. Extrude the surface to get the shapes of balcony4.and add the 4. previous box to show the whole building.

8.

8.

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Boundary surface

Extrude

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OUTCOME The outcome of this reverse engineering exercise was extremely beneficial in allowing me to think algorithmically. I consider the reverse engineering process by separating the building into two parts. One is the building structure which is just simply a box, the balcony part of the building is what I should really work on. The balcony of the building is curved with different patterns, I start to think use the image sampler technique learnt from case study 1 to create the shape. I use an image of the façade to control the movements of points on each level by application of its AHSV value. When I actually get started the reverse engineering of the Aqua Tower, at first it seemed relatively straight forward, however, as process went on it became increasingly difficult, the use of amplitude to restrain the domain of moving points is critical.

I have found that the outcome is similar to the original Aqua Tower. The aqua towerâ&#x20AC;&#x2122;s wave pattern was based on some specific rules and analysis; however, my reverse engineering was using the image of the façade as an image sampler and remap it onto the whole box in order to achieve the similar form of the tower which resulted in some discrepancies.

It must also be taken into consideration that the image sampler technique in grasshopper is inaccurate to an extent. It merged the lines between patterning and tessellation which is important for architecture, especially in considering the use of patterning as 3 dimensional elements which can create visually complex and stimulating results.

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B.4 TECHNIQUE: DEVELOPMENT Matrix Specie 01 #01

#02

#03

#04

#05

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Specie 02

Specie 0

03

Specie 04

Specie 05

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#06

#07

#08

#09

#10

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SUCCESSFUL ITERATIONS Specie 1. Height and depth of extrusions.

Specie 2. Number of vertical and horizontal lines.

Specie 3. Add attractor points and change the strength of them.

Specie 4. Change direction and extrude in opposite direction.

Specie 5. Divide curves by length.

Selection 1

Creativity Responsiveness Aesthetic quality Constructability Design flexibility Comment: This iteration was created by manipulating the actual curves/ribs and having them puncture through another surface. This is something that could be experimented with using more than one plane. This displays the 3D patterning.

Selection 2

Creativity Responsiveness Aesthetic quality Constructability Design flexibility Comment: This iteration is chosen for its frame, this can be easily adopted into a frame of a responsive roof.

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Selection 3

Creativity Responsiveness Aesthetic quality Constructability Design flexibility Comment: This iteration was created by manipulating the actual curves/ribs and having them puncture through another surface. This can be developed further to implement a responisve reaction from the design in response to a specific element.

Selection 4

Creativity Responsiveness Aesthetic quality Constructability Design flexibility Comment: The waffle grid was interesting more to think about utilising tabs for connections as oppose to actually using it as a final design.

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B5 Technique: Prototype The relationship between architecture and fabrication is very crucial in the field. The materials available and the technology facilitating its production have a direct input on the way in which we design. the materials in real world is one of the most things in our decision-making process in grasshopper.

There are constraints that invariably prohibit some design processes, it serves as a reminder of how we have to consider fabrication limitations when designing. The lack of capacity for grasshopper to determine the methods that are problematic therefore requires human intervention.

Therefore, we play a role as decision makers and problem solvers to solve complex issues complements the designing phase through grasshopper.

In order to understand the material system better, we are required to create various prototypes that explore structural possibilities for my concept and identify potential problems that need to be improved before fabrication. In return, I can integrate my knowledge and understanding

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Joint Test Manual fabrication Regardless of the high quality of the prototype, manual fabrication was the easiest, less time-consuming method. Basically, manual fabrication in this instance was to cutting the joist with cardboard to test the structural integrity of the joist. Despite having the capability of showing the idea, the quality is not desirable.

Laser cutting Laser cutter uses a flatbed cutting plotter from 2D line drawings which this approach gives the ability to cut up 20mm thickness of materials.

The main issue of this method is that the material selection, we firstly chose the plywood as its structural material, when we installed the structures, we found it too brittle as the joint section will be relatively thinner than other sections. Some of them would just broke before the installation. Fortunately, at least we tested the waffle grid joint was working all right.

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Weaving Test

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Material: Thread Thickness: 1 Colour: Black Method: Every 3 holes

Material: Thread Thickness: 1 Colour: White Method: Every 7 holes

Material: Thread Thickness: 2 Colour: Black Method: Every 6 holes

Material: Thread Thickness: 4 Colour: Black Method: Every 2 holes

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Prototype Installation

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Reflection The MDF laser cut structure remains the most successful in terms of fabrication of the structures. I will continue to develop the prototypes using different materials and techniques to decide the best option.

While the prototypes are relatively basic and crude, it shows some potential of material systems such as bamboo and Perspex which are available from the FabLab as well. In this section, I understand that what we see in virtual Rhinoceros does not necessarily match the materials in real world.

Therefore, it is significant to refine material selection will be invaluable in design consideration.

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B6 Technique: Proposal

DESIGN PROPOSAL: LOUNGE BRIDGE COVER (ROOF) SITE: SANDRIDGE BRIDGE CLIENT: PEDESTRIANS DESIGN IDEOLOGY: USING PARAMETRIC DESIGN TOOLS TO CREATE A ROOF STRUCTURE OVER THE BRIDGE WHICH FUNCTIONALLY WORKS AS A SUN-SHADING DEVICE AS WELL AS ACTING AS A LOUNGE.

FIG 11 Melbourne map - Google Maps

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FIG 12 Sandridge bridge - Google Maps

For our technical proposal, we thought about how we could take everything we have come across and apply it to the site. While having the feedback from the guest tutors, we all agreed to continue to work on the weaving technique and explore its possibilities within different frames. We also take the suggestions from Chang of using fiberglass to produce transparent panels in between frames to add its complicity. Overlapping weavings are incorporated into consideration, resin might be applied to harden the thread to achieve an effect of non-frame structure.

Another drawback was the size of the grid, the limitation of spaces makes the weaving technique too difficult to be achieved. This can be improved in next weekâ&#x20AC;&#x2122;s prototypes. I believe this is one step forward for our design as we will test our more ideas and see what the outcome is and step back to the grasshopper and push the design forward.

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B7 Learning Objectives and Outcomes As far as I am concerned, the learning objectives of Studio are to establish the computational thinking on architectural design, both in form and workflows. Through the study of part B, we used grasshopper as a method for form finding. Personally, I think the development of the skills to manipulate definitions or reverse engineering process has provided me with solid foundation of parametric design.

While for me there is still a lot to learn to fluent in scripting language, I think the studio has a clear pathway for us to achieve the goal. When I reverse engineer the Aqua Tower and apply similar principles to my own design, the technical help session is quite helpful. I always find the design possibilities are beyond my imagination.

My design focus is the visual engagement through geometrical patterns, the spatial quality of my design is emphasised. Regarding the feedback from tutors, I will spend more time on refining my design concept since it becomes a bit disorganised in different stages, I am looking forward to consolidating my ideas in part C.

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B8 Appendix - Algorithmic Sketches Week 3 Fractal Geometries

Week 5 Path Mapper - while the results seem

relatively simple and straight forward, the driven concepts behind it made it a more significant for me. The ability to manual alter and manipulate data at any given point is an extremely useful tool in grasshopper.

While I am not yet proficient with it, I have difficulties applying it to certain circumstances, it is something that I would like to get used to in the coming weeks as I believe that it adds a new dimension of control and flexibility to a definition.

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Bibliography “Aqua Tower / Studio Gang” 02 Dec 2009. ArchDaily. <http://www.archdaily. com/42694/aqua-tower-studio-gang-architects/> Goldemberg, Eric. Pulsation in architecture. n.p.: Ft. Lauderdale, Fla. : J. Ross Pub., 2012., 2012. UNIVERSITY OF MELBOURNE’s Catalogue, EBSCOhost.

Robert Venturi, “Diversity, Relevance and Representation in Historicism, or Plus pa change . . . Plus a Plea for Pattern All Over Architecture ... ,” the 1982 Walter Gropius Lecture, in Architectural. Record ( June 1982)414-119, p. 116 Spanish Pavilion 2005 World Exposition Aichi Japan. 2005. Simon Glynn http:// www.galinsky.com/buildings/spainaichi/ Masheck. Joseph. Adolf Looos. The Art of Architecture. n.p.:London : I.B. Tauris, 2013. 2013.

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