ling_junda_811977_partc by jling3

STUDIO AIR 2018, SEMESTER 1, MATT DWYNER JUN DA LING

Table of Contents 3 About me 3 Introduction

64 B6: Technique: Proposal 69 B7: Learning Outcomes

4 Previous works 6 A: CONCEPTUALISATION 7 A1: Design Futuring 13 A2: Design Computation 20 A3: Composition/ Generation 24 A4: Conclusion 25 A5: Learning outcomes 26 A6: Algorithmic Sketches 27 A7: Site Study & Chosen Insect

74 Bibliography

76 C: DETAILED DESIGN 77 C1: Technique Combination & Initial Proposal 100 C2: Design Development & Final Concept 110 C3: Techtonic Elements & Prototypes 130 C4: Final Detail Model

30 B: CRITERIA DESIGN

162 C5: Improvements

31 B1: Research Field

164 C5: Learning Outcomes

34 B2: Case Study 1.0 42 B3: Case Study 2.0 50 B4: Technique: Development 60 B5: Technique: Prototyping

71 B8: Appendix - Algorithmic Sketches

INTRODUCTION

Introduction

About me

y name is Jun Da, Iâ&#x20AC;&#x2122;m a third year architecture major student in the University of Melbourne. Aside from being interested in architecture I enjoy drawing, whether it be still life or some fanart of shows I enjoy developing my skill of drawing and ocassionally some painting. I also probably enjoy gaming way too much. It was only when I entered studio AIR that I realised how little I knew about digital design in relation to architecture. From what I understand, digital tools in the field of architecture allows a person to create something that may not even need to exists physically in this world. There are many examples of purely conceptual and digital designs that can influence and make a mark on this

world without the need of a built form. My skills in digital softward started with Rhino as most students in my university do. I recall learning how to use rhino and the plugin paneling tools for a subject. Prior to this subject I have only experimented with a couple of features in Grasshopper for previous subjects. Never really learnt it extensively. Other software I use include the Adobe Creative Suite, the essentials for documentation and presentation. AutoCAD is also part of my arsenal of digital programs because I use it a lot in my subjects for drafting and other drawing purposes.

INTRODUCTION 3

Previous works

ARCHITECTURAL STUDIO: WATER CONCEPTUAL RENDER

These are the projects that I’ve worked on in my first two years in the Architecture major. It’s quite evident from my work that geometry is probably my most used element when designing a building. Incorporating simple shapes and a very simple style is what I enjoy to do.

INTRODUCTION

DIGITAL DESIGN AND FABRICATION FINAL MODEL

INTRODUCTION 5

A: CONCEPTUALISATION A1: DESIGN FUTURING A2: DESIGN COMPUTATION A3: COMPOSITION/GENERATION A4: CONCLUSION A5: LEARNING OUTCOMES A6: APPENDIX - ALGORITHMIC SKETCHBOOK

CONCEPTUALISATION

A1: Design Futuring

FIG 1: THE PROLOGUE AND THE PROMISE BY ROBERT MCCALL

esigners play an important role on the advancement of their items in the future. However, as we advance in technology and in industrialization, we start to experience what Fry calls defuturing meaning a threat of unsustainability. 1 Is this due to the design intent of our ancestors not for a sustainable future? Rather to just advance us forward without thinking about the consequences that these advancements might hold. Design futuring is the perfect solution to the stated defuturing. Because it’s motive is to slow down the rate of the unsustainability caused by defuturing. To also change the course in which humanity will have a more sustainable habitation on Earth. This means to design for a change for all forms of mediums that require design to follow a single goal and that is to increase sustainability in the environment.2

The act of designing a future with sustainability in mind can sound easy. Design has always been very optimistic 3 when it comes to dire situations because some of the bigger problems are normally put aside to improve the concept. The end product is a future that removes all threat of defuturing. I would describe it as a utopia, simply because achieving it is near impossible. However there is another way of looking at designing for the future. It is not a means to an end, the problem will always exist and hinder us from an utopia. It is to help us aid our imaginative thoughts and to better understand the present.4 There are many scenarios of the future people design and are often debated amongst one another. This is the path that will actually inch us closer to a future that we actually desire.

1 FRY, TONY (2008). DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD: BERG), PP. 1–16 2 FRY, TONY (2008). DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD: BERG), PP. 1–16 3 ANTHONY & RABY, FIONA (2013) SPECULATIVE EVERYTHING: DESIGN FICTION, AND SOCIAL DREAMING (MIT PRESS) PP. 1-9, 33-45 4 ANTHONY & RABY, FIONA (2013) SPECULATIVE EVERYTHING: DESIGN FICTION, AND SOCIAL DREAMING (MIT PRESS) PP. 1-9, 33-45

CONCEPTUALISATION 7

Precedent works Eden Project | Cornwall | Nicholas Grimshaw | 2003

FIG 2: THE EDEN PROJECT IN CORNWALL, ENGLAND

he Eden project is one of Cornwallâ&#x20AC;&#x2122;s most visited attractions. It boasts two very distinct biome areas. The domes that cover these biomes consist of many pentagon and hexagon shapes to provide structure to the domes. What acts as the membrane that sits on the patterns are plastic cells. The Eden Project is one scenario of a built form that succeeds in creating a platform to slow down defuturing. The mixture of different plant types from all

CONCEPTUALISATION

around the world are being held within these two biomes. Furthermore, they are in close proximity of local plant types as well. Right outside these domes is a botanical garden filled with Cornwall and UKâ&#x20AC;&#x2122;s very own plant types. This project manages to combine different plant types together with the help of technology providing a simulation of the climate which the foreign plants can survive within these domes.

The Eden Project has since itâ&#x20AC;&#x2122;s opening not only became a tourist attraction further improving the economical status of Cornwall. It has also become a hub of entertainment and media. People from across the globe would travel exclusively to Cornwall just for the Eden Project. Specifically the Eden sessions, which are musical performances that the management hosts to further utilize the space and venue of the Eden Project.

FIG 3: INSIDE THE TROPICAL BIOME

Personally, I think the Eden Project is a good example of an utopian design for the future. Not only in application but in appearance as well. The juxtaposition of the domes with nature is seen to be very pleasing to the eye as well as pentagons, hexagons and geometrics are normally associated with modern design as well.

FIG 4: THE BOTANICAL GARDEN AND THE BEE

CONCEPTUALISATION 9

The New Babylon | Concept | Constant Nieuwenhuys | 1959

FIG 5: VIEW OF NEW BABYLON’S SECTORS

he New Babylon is a utopian concept conceived by Constant Nieuwenhuys. Inspired from a book called Homo Ludens by Johan Huizinga, he is trying to shape society to become a place where everything is ‘automated’. This concept also challenges where art fits in enhancing daily experiences, so Constant actually removed forms of creativity and art to further ponder on this thought. The form of this concept is to create a vertical approach to living. It’s seen to be a quite radical change from the

CONCEPTUALISATION

norm as seen in the image above. The full concept is to have these flexible structures supported by concrete columns to span accross Europe. Constant added that the climate, light and air would be controlled artificially. Below the buildings would be a pure vehicle access zone whereas the roof would be a pedestrian zone only. This project actually seems to be against capitalism where all other variables are controlled very specifically.

The New Babylon is a very interesting approach to a utopia. I understand how some aspects of this concept can somewhat classify this as an utopia. However, the lack of creativity and freedom makes me see this more of a dystopia. The inability to create art and the climate assumably controlled by the government just paints a dystopian future for me. This actually makes me think of design for a dark future mentioned in the speculative everything reading. This concept plays around with challenges the norm and extracts our complacency from us. It excites and makes us ponder on a desirable future that we actually want.1 That is what goes through my mind when I study more on this concept.

FIG 6: MODEL OF SECTOR IN NEW BABYLON

FIG 7: CONCEPT ART BY CONSTANT

1 ANTHONY & RABY, FIONA (2013) SPECULATIVE EVERYTHING: DESIGN FICTION, AND SOCIAL DREAMING (MIT PRESS) PP. 1-9, 33-45 CONCEPTUALISATION 11

Analysis of both precedents Both the Eden Project and The New Babylon were very interesting precedents to look at in the topic of design futuring. Both of these precedents had the same goal, which was to decrease the rate of defuturing. To create a sustainable future for everyone to live in. However the approaches each precedents took is quite different from one another.

FIG 8: EDEN PROJECT SECTION

The Eden Project sought to decrease defuturing by creating and combining natural environments from foreign lands with local ones as well. They also sustain these biomes with programs that utilize the space of the area to fund other items that may improve the sustainability of this project. However, The New Babylon concept seems to have completely ignored natural habitats within this built environment. The New Babylon is seen to completely reform the structure of society from the norm. To create a future where humans do not have to resort to manual labour. This concept achieves this by creating specific sectors of an urban environment and emphasising on a more vertical approach to living. Visually these two contrast one another. The Eden Project is symmetrical and pleasing to the eye. The New Babylon appears to be in discord and dark colours, it is pleasing to the eye in some way but not imposing a positive feeling.

FIG 9: NEW BABYLON LINEWORK

Something interesting that both of these precedents have in common is the desire to control the climate of the area. The biomes serve as an artificial climate zone and The New Babylon concept had the idea of controlling the whole climate artifically. Perhaps both of these precedents wanted to create an ideal future where climate wouldnâ&#x20AC;&#x2122;t be a problem at all. The limitations of tropical or temperate wouldnâ&#x20AC;&#x2122;t matter with these implications.

CONCEPTUALISATION

A2: Design Computation

FIG 10: WALT DISNEY CONCERT HALL BY FRANK GEHRY

he design process within architecture is something that has been developing ever since it’s discovery of the field. The introduction of computers had evolved the design process of architecture because humans never could achieve analytical power that this new form of technology could provide. Architects can now create accurate models and drawings of a building without it existing physically anymore. This puts architectural design at a larger emphasis of planning rather than constructing. Furthermore, we have already seen the great minds of architects such as Frank Gehry that utilize computation to create his works. Curvillinear and organic forms became easier to produce through computation with the ability to input desired designs by the architect.

of dynanism and the many ways a design can change within the design process. It is also a method of form finding where a set of parameters are set up for a geometry within which elements can be manipulated to create many different outcomes. This is a form of algorithmic design.1 Computerisation, not to be confused with computation also brings improvements to communication between architects and anyone who will be involved in the design process. (structural engineers, lawyers, contractors, etc.) These information can now be easily transfered between one another through computers.2 The design process can be further developed because it is now open to everyone because this information can now be shared through computers through advancements such as the internet.

Parametric design is the embracing 1 OXMAN, RIVKA AND ROBERT OXMAN, EDS (2014). THEORIES OF THE DIGITAL IN ARCHITECTURE (LONDON; NEW YORK: ROUTLEDGE), PP. 1–10 2 KALAY, YEHUDA E. (2004). ARCHITECTURE’S NEW MEDIA: PRINCIPLES, THEORIES, AND METHODS OF COMPUTER-AIDED DESIGN (CAMBRIDGE, MA: MIT PRESS), PP. 5-25 CONCEPTUALISATION 13

Precedent works Serpentine Pavilion | London | Toyo Ito | 2002

FIG.1: SERPENTINE PAVILION EXTERIOR

oyo Ito and Cecil Balmond’s design for the 2002 Serpentine Pavilion in London was driven by an computation that would shape the building.

main aspect that drives the form. This changes the way architecture is planned because buildings can obtain it’s form purely from computation instead of traditional methods.

Despite having geometries that seem random and out of place, there was an algorithm of a rotating cube that would expand. These would cause intersecting lines that create dynamic geometries.

The geometries present in the pavilion is something unique to only computation. Therefore it is something only computation seems to be able to create.

The Pavilion’s design here puts a large emphasis on computation being the

CONCEPTUALISATION

FIG.12: BLOWN UP AXO OF SERPENTINE PAVILION, 2002

CONCEPTUALISATION 15

Galaxy Soho | Beijing | Zaha Hadid | 2012

nother good example of how computation has affect the architectural design process is the Galaxy Soho by Zaha Hadid in Beijing. Despite the design being largely based off Beijingâ&#x20AC;&#x2122;s status. You can see the influence of parametric design just by looking at the form of the building. This precedent is unique in that it has no corners at all. This helps to retain fluidity of the design and also giving it a 360 degree view from inside the building. Not only can computation produce geometrical and dynamic shapes. But curvilinear and organic forms as well. As long as the parameters are logical and grouped well most forms can be created through parametric design. The Galaxy Soho serves as a landmark in Beijing, an architectural feat created through parametric design and produced on such a large scale is rarely seen as well.

FIG.13: GALAXY SOHO BY ZAHA HADID

CONCEPTUALISATION

CONCEPTUALISATION 17

Analysis of bo

Original Forms

FIG.14: ELLIPTICAL FORMS

FIG.15: POST SECTIONING

FIG.16: RECTANGULAR FORM

FIG.17: POST SECTIONING

hrough the analysis of both precedents. It has come to mind that these two buildings utilize parametric design to achieve their final built form.

Product of Sectioning

are then made through the building to create a seamless connection.

In the graph above, it explains how these two projects are actually very similar in the application of parametric design.

Then the Serpentine Pavilion, starts off with a simple cuboid form. It then uses the algorithm of rotation and enlarging of rectangles to obtain triangular shapes. These shapes are then used to section the original rectangular form.

For the Galaxy Soho, it started off as a simple ellipsoid shape. Then horizontal sectioning was added as a parameter to create the form you see in the building today. The connections

These two precedents have almost a similar method in creating itâ&#x20AC;&#x2122;s final built form. But it is still amazing to see that parametric design has so much potential in designing for architecture.

CONCEPTUALISATION

oth Precedents

FIG.18: SERPENTINE PAVILION FORM EMPHASIS

FIG.19: GALAXY SOHO FORM EMPHASIS

CONCEPTUALISATION 19

A3: Composition/Generation

he introduction of computation has brought a complete new field or style in architecture. Some architects dedicate themselves to this field and even start to learn how to engineer software. Computation in architecture is a celebration of technology, that architects have evolved from the pen into the digital realm which they can further evolve architecture to something unprecedented. The process of engineering a software is completely different to architectural practices. Being you have to learn machine languages to translate the desired digital tool creation in a way that computers can understand it. Computation allows designers to extend their abilities to handle highly complex situations. It augments their abilities by handing them a platform in which they can create or solve intricate problems. Architects that create digital tools design it specifically to tackle certain problems in architecture. However, modifications can be created to further extend the capabilities of a software to suit other problems as well. Think Grasshopper, a plugin for the software Rhino3D. It turns an ordinary 3D modelling tool into a platform in which architects can practice parametric design. Knowing this, computation can constantly be improved through the effort of wanting to explore options within digital design. Computation in this era of architecture has been fully integrated into

the practice and even the design process itself. Computational technique is combined with the design intent, therefore it is used very naturally to design a building. With the further improvement of software, architects can now receive feedback regarding building performance through computation. This is possible through the translation of data of materials, tectonics and parameters of production machinery being translated into the program allowing for calculations to be made by the computer. This allows architects to accurately plan a project before construction. Computational designers translate the logic of architecture and create new opportunities to explore and simulate designs. Architecture at this rate will shift from drawing to algorithm as a method of communicating designs.1 Peters through this reading has given a very bias standpoint on computation in architecture. However, I can’t help but think of negative implications this method might give. Should we allow computation to fully take over our conventional practices in architecture? Is computation the design? Or is it a tool we can use to help with our designs. What if the algorithms generated replace the need of architects?

1 PETERS, BRADY. (2013) ‘COMPUTATION WORKS: THE BUILDING OF ALGORITHMIC THOUGHT’, ARCHITECTURAL DESIGN, 83, 2, PP. 08-15

CONCEPTUALISATION

Precedent works Arabesque Wall| Toronto | Benjamin Dillenburger & Michael Hansmeyer | 2015

he Arabesque wall is a 3 metre tall 3D printed sculpture that is inspired by arabesques from Islamic culture. It is a sculpture that boasts over 200 million surfaces at a resolution of 0.2 millimeters. The creators explained that this shifts the design process to an abstract level. Without the technology from computation it would be impossible for a designer to specify or even create. This project has shown some limitations of computation as it took four days from a 4GB file to print. But just like any other building or sculpture it would of course take days to build. But this has the combination of computation and computerisation, the designing through parametric and the printing through 3D printers. It is truely a remarkable example of what we can achieve through algorithmic design.

FIG.20: THE ARABESQUE SCULPTURE FULL SCALE

CONCEPTUALISATION 21

Elbphilharmonie Auditorium| Hamburg | Herzog & de Meuron | 2017

FIG.21: ELBPHILHARMONIE AUDITORIUM

nother grand example of how computation and algorithmic design has intergrated within architecture is specifically the auditorium within the Elphilharmonie. Being a venue of music and philharmonics, it has to impress with a grand central auditorium. This one is built with 10,000 unique acoustic panels that exists in the ceiling, walls and balustrades. The form appears to be very organic and resembles rippling waves or the seaside. However, the creation of these forms were computational. Parametric design was used to create these patterns. They used algoritms to create a unique shape

CONCEPTUALISATION

for each of the 10,000 panels. By working closely with a professional on acoustics. They managed to obtain the parameters needed for these panels to function as needed. To absorb sound. Architectural preferences had been implemented despite the restrictions as well, such as the consistency of the form throughout the auditorium. Benjamin Koren, from One to One studio helped with generating the design of the panels through parametrics. Once again parametric design has helped to create not just an aesthetically pleasing design. But a functional item as well.

FIG.22: CLOSEUP DETAIL OF THE PATTERN

FIG.23: PARAMETERS FOR THE PANELS

“That’s the power of parametric design. Once all of that is in place, I hit play and it creates a million cells, all different and based on these parameters. I have 100 percent control over setting up the algorithm, and then I have no more control.” - Benjamin Koren FIG.24: PANELS IN AN ANGLE

CONCEPTUALISATION 23

A A4: Conclusion

The introduction of design futuring had defined what it means to design for the future. To design for sustainability and to learn from it as well. Radical or not these scenarios we create for the future exists to help turn the gears for our imagination. Through the debate of all these scenarios we can start to imagine a desirable future based on societyâ&#x20AC;&#x2122;s response. This section also introduces technology within architecture and how it has evolved the practice. Specifically through computation, it is evident that this is a new platform where architects can choose to express their design through inputing parameters for a desired product and creating dynamic responses from these parameters. Not to be confused with computerisation, which is the act of having the aid of the computer to help us perform better. Such as drafting tools, 3D printers and etc. Lastly, we end this part with the affirmation of computation as a design practice. It has integrated within architectural firms and is now seamlessly used in the design process as well. Through the precedents we can see that amazing and highly complex forms can only be conceived through computation. It has some constraints in time and file sizes but the merits outweigh the problems here. However, I do think there is a lack of freedom in creativity if we as architects choose to dive deeper into parametric design.

CONCEPTUALISATION

A5: Learning outcomes

tarting out this semester doing three core subjects has been tough on me. Throughout the weeks I found myself become more tired. That wasnâ&#x20AC;&#x2122;t the case for this studio. I found myself enjoying the topics of each week. Learning about the future and how to approach it. This studio has given me a fresh perception on how to design for the future through its readings and discussions through tutorials. I also had little to no experience using grasshopper for Rhino3D prior to starting this subject. After watching

the provided video tutorials and attending the lectures it became more of an enjoyment rather than a chore because of the immersive environment. So I have improved in my grasshopper skills as well. My tutor also gave us an early idea of the brief for the project we will be doing later on in the semester. I find it quite exciting to have received it slightly early. Preliminary research has already begun. Through this I learned how to do extensive research on a brief in regards to site and chosen items.

CONCEPTUALISATION 25

A6: Algorithmic Sketches

FIG.25: ANT SHELL STUDY

n my algorithmic sketchbook I tried to create a form which resembles my chosen insect which will be covered in the following page. The shell form of an ant is what I want to be experimenting on by maybe adding patterns on it as well.

FIG.27: OPPOSITE VIEW FIG.26: FRONT VIEW

FIG.28: BUS STOP DESIGN TASK EXERCISE

CONCEPTUALISATION

A7: Site Study & Chosen Insect

FIG.29: AERIAL MAP OF LINCOLN SQUARE

he site of choice for me would be Lincoln Square. It is largely because that it is more urban than other sites as well as conforming to the brief that it is next to a tram stop. I also chose it because I think the urban heat island effect of this area can be decreased. The adjacent parks nearby can act as a connection point to this park and decrease the urban heat island effect in a larger scale. If there is a larger need, the tram line runs all the way north to Princes Park as well, which is one of the larger parks that can improve the natural environment.

LINCOLN SQUARE

NEARBY PARKS

Another reason why I chose it is also because the insect life there is quite diverse. Being primarily mid storey, like all the other insects. This park has everything ranging from the grass, lawns, trees and midstorey. 1 The existing water feature for Lincoln Square could be of use as well when thinking about the hanging gardens brief. 1 MATA L, IVES CD, MORÁN-ORDÓÑEZ A, GARRARD GE, GORDON A, CRANNEY K, SMITH TR, BACKSTROM A, BICKEL DJ, HAHS AK, MALIPATIL M, MOIR ML, PLEIN M, PORCH N, SEMERARO L, WALKER K, VESK PA, PARRIS KM, BEKESSY SA (2016). THE LITTLE THINGS THAT RUN THE CITY – INSECT ECOLOGY, BIODIVERSITY AND CONSERVATION IN THE CITY OF MELBOURNE, REPORT PREPARED FOR THE CITY OF MELBOURNE.

CONCEPTUALISATION 27

The insect of choice here is the Iridomyrmex Sp. One of the most plentiful and important species in Victoria. This species of ant is local to Australia and it is very important to the ecology around it. They are known to distribute seeds through both dispersal and pollination making them quite versatile. These ants are preyed upon by beetles and spiders. This will help to sustain or even increase the amount of biodiversity of insects within the park itself.

FIG.30: IRIDOMYRMEX ANT

These ants are however, in conflict with themselves and another ant. The also known as Rainbow Ant are very territorial even with one another. Clear boundaries are specified when the ants move to scavenge. When another Iridomyrmex crosses this boundary, they engage in what is call a traditional conflict. 1 Another threat to them is the Argentine Ant, a highly aggresive species of ant that will hinder the Iridomyrmex’s lifestyle. The Argentine Ant is foreign and therefore should be removed from the park as it is a known pest as well. Through chemical substances we can remove the argentine ant however I would like to search for an alternative other than resorting to chemical usage.

FIG.31: IRIDOMYRMEX ANT AND EGGS

Lastly, the Iridomyrmex exists in the most plant types within Lincoln Square. Making them the most versatile to exist in many common plant forms. That makes it less troublesome to find specific plants they might choose to nest near.

1 MATA L, IVES CD, MORÁN-ORDÓÑEZ A, GARRARD GE, GORDON A, CRANNEY K, SMITH TR, BACKSTROM A, BICKEL DJ, HAHS AK, MALIPATIL M, MOIR ML, PLEIN M, PORCH N, SEMERARO L, WALKER K, VESK PA, PARRIS KM, BEKESSY SA (2016). THE LITTLE THINGS THAT RUN THE CITY – INSECT ECOLOGY, BIODIVERSITY AND CONSERVATION IN THE CITY OF MELBOURNE, REPORT PREPARED FOR THE CITY OF MELBOURNE. 28

CONCEPTUALISATION

CONCEPTUALISATION 29

B: CRITERIA DESIGN B1: RESEARCH FIELD B2: CASE STUDY 1.0 B3: CASE STUDY 2.0 B4: TECHNIQUE: DEVELOPMENT B5: TECHNIQUE: PROTOTYPES B6: TECHNIQUE: PROPOSAL B7: LEARNING OBJECTIVES AND OUTCOMES B8: APPENDIX - ALGORITHMIC SKETCHES

CRITERIA DESIGN

B1: Research Field

SECTIONING

hrough part A, it is evident that there is a need to design for a sustainable future. One where it is necessary to reflect on the intent on a design and how it can impact the environment and its ability to sustain. At the same time, technologies have advanced and allowed us to create new forms of architecture. With the advancements in computation, parametric design had been seen to be developed direct method to the design process within architecture.

This project plans to cover the concept of sectioning, which is the act of recreating a surface or structure through obtaining multiple cross sections to project an existing form.1 This concept would be impossible without the aid of computation. The act of obtaining a section from a form is easier now than because of this technology. Thus, creating a new method of design called sectioning. Despite sectioning being heavily

influenced by computation today. It actually started in the field of construction, where this method was used to construct the hull of a ship or the wings of a plane.2 However, the reason we do it today is different that it was before. Sectioning is used as a design technique for intricate and complex geometries that would best be expressed through this method. With compliance to the brief and previous concepts introduced. Sectioning is seen something that lies in the domain of technology while sustainability looks more towards the environment. This project will aim to use this concept of sectioning as the foundation of the design, creating forms based on the chosen insect and ultimately combining this advanced method of architecture design with the intent of sustainability. The chosen site, Lincoln Square will be an excellent starting point to determine the form and further develop this project.

1 SPLUS, (2017). SECTIONING IN PARAMETRIC ARCHITECTURE (STEEMIT), HTTPS:// STEEMIT.COM/ART/@SPLUS/SECTIONING-IN-PARAMETRIC-ARCHITECTURE 2 LISA, IWAMOTO, (2009). DIGITAL FABRICATIONS. ARCHITECTURAL AND MATERIAL TECHNIQUES (PRINCETON ARCHITECTURAL PRESS), SECTIONING, PP.10

CRITERIA DESIGN

Precedent works ICD/ITKE Research Pavilion| Stuttgart, Germany | Achim Menges and Jan Knippers | 2010

he ICD/ITKE Research Pavilion in 2010 was constructed with the idea of material computation. This pavilion explores the relationship between the form and force of an architectural structure, both of which are different elements when compared in the digital and the physical world. It also utilizes sectioning as its main method of design. The structure is based on the bending charateristics of birch plywood strips that have been robotically cut. The bending of each strip and the stored forces are maintained through subsequent strips that hold each other in place and transfer these forces to the ground. To prevent overloading a particular joint with forces, different connections had to be made resulting in 80 different strip patterns erected from more than 500 different geometrical parts.

FIG.32: PAVLION INTERIOR

This was only made possible through parametric design. With technology, material behavioral features can now be input into parameters within a software to generate unique results with physical world elements involved. Tests for bending were made physically, the data pulled from those tests were then embedded into the parameters. FEM simulation was used to do a structural analysis of the pavilion. With this in mind combined with the method of parametric design and the input of real world data made planning of the pavilion to be done purely through digital methods. Once the planning and simulations were complete, all thatâ&#x20AC;&#x2122;s left is to manufacture the plywood pieces and construct the pavilion. This precedent explores real time physics and its relation to the digital realm. With plugins such as kangaroo, we can simulate physics within a model to further improve the planning process of architecture. 32

CRITERIA DESIGN

FIG.33 : PAVILION EXTERIOR AND LIGHTING PROFILE

One Main | Cambridge, MA, USA | dECOi Architects | 2009

his project was done for a investment group in green building and clean energy technologies (CChange). Once again, sectioning seems to be the main design profile. This design drew from the architects prior sculptuer, In the Shadow of Ledoux, 1993 and the Galerie Miran, 2003. This inspired the material choices and resources used. Which were sustainably-forested spruce plywood which was milled using numeric command machines. The information in which can carve renewable carbon-absorbing resource.

FIG.34: OFFICE INTERIOR

The design intent here was to reduce the carbon footprint of the existing office at the same time celebrating the advancements in technology that allow this type of interior to be fabricated. The floor and ceiling were intended to be articulated as one form through curvilinear means. Many of the buildingâ&#x20AC;&#x2122;s elements were customised for this project to challenge the extent in which an architect could control building systems. Even details such as a ventilation grille for computer being inflected to provide access to it was considered. Door handles were carved as customized elements, providing cheaper material alternatives as well. An automated algorithm was developed to generate milling files for the plywood. Creating a seamless pass between design and fabrication with low percentages of mistakes. The entire project was then nested onto 1200 1.2m x 3.6m plywood sheets and milled using cnc routers through the miling files supplied by the algorithm.

FIG.35: CURVILINEAR CONNECTION OF FLOOR AND CEILING

This precedent while seems similar to the first, explores a very different approach to sectioning as it is heavily reliant on its form to produce.

CRITERIA DESIGN

B2: Case Study 1.0 BanQ | Boston, MA, USA | Office dA | 2008

his project involves a restaurant named BanQ, it focuses on concealing the building systems that lie on the ceiling and in the walls. The project is divided into two areas, one as a bar and one as a dining area. The design of the space was conceived through another division, which is the z-axis between the ceiling and the ground. The geometry of each wood section adheres to the equipment that it is attached to, to create a seamless 1

The functioning areas of the dining space are fabricated with warm woods and relaminated bamboo. This project had restrictions regarding the heritage of the site. Which led the structure to be suspended from the ceiling because it could not touch the interior walls. Each section of the project fits perfectly on a specific unit.

ARCHDAILY, 2009. BANQ/OFFICEDA, ARCHDAILY. HTTPS://WWW.ARCHDAILY.COM/42581/BANQ-OFFICE-DA

Aesthetics

Is this iteration pleasing to the eye? How would users react to the sight of it?

Structure

Can the iteration stand on its own? What materials can be used to fabricate it?

Spatial Profile Environmental Implementation

landscape. A wine storage in the middle of the hall is partitioned through multiple sections that give the illusion of flight.1

CONCEPTUALISATION

Does the iteration allow a tram to pass through it? What about insects, users and other vehicles? Will this interfere with solar and light passage? What about rain water collection?

FIG.36: SEPARATION OF SECTIONS IN DETAIL

FIG.37: SIDE VIEW IN RESTAURANT

CONCEPTUALISATION 35

Iterat Species

No. of Sections

Grid Manupulation

Variable = Slider (N)

Variable = Slider for direction (U)

Iteration

U=1 N=10

U=4

N=20

U=7

N=35

U=10

N=70

CRITERIA DESIGN

tions Image Variable = Image Sampler

Expression in Unit Z Variable = Positive or negative axis (x)

-x

CRITERIA DESIGN

Species

Location of Curve

Rotation of Curve

Variable = (x,y)

Variable = Angle of curve (degree)

Iteration

(0,0)

(0,7)

30 degrees clockwise

50 degrees clockwise

(10,7) 90 degrees clockwise

(17,4)

120 degrees clockwise 38

CONCEPTUALISATION

Manipulation of Vector Variable = Number slider (x,y,z)

Usage of Different Surfaces Variable = Surfaces

(0,0,2)

(0,0,4)

(0,5,2)

(5,0,2)

CONCEPTUALISATION 39

Successful Location of Curve

Grid Manupulation

Aesthetics Aesthetics

Structure

Spatial Profile

Environmental implementation

This iteration is meant to explore how the curve within the definition can be manipulated. It was mostly experimentation on how much ground could be manipulated through moving the curve. Further experimentation through this field made realisations that the curve plays a major role in where the sections will be generated throughout the surface. This does not fulfill the structural criteria due to the iteration being two-dimensional. However it helped with the understanding of the definition.

CONCEPTUALISATION

Next, the grid points generated through dividing points from the surface is manipulated. As different points and decreased throughout a direction, the form changes as well. This could be useful in changing the form of the sections to serve a particular purpose such as creating more space or less of it.

l Iterations Image

Usage of Different Surfaces

Aesthetics

Structure

Spatial Profile

Environmental implementation

After this point, the basis in which the sections were based on were being experimented on. A simple surface that was created in a shape of shelter was used in the definition and it achieved good results that could be used in the project. Different surfaces could be explored to further create forms that fit the design intent. This can be used in conjuction with the first successful iteration to further increase accuracy of a desired parameter.

The last iteration is a play with the image sampler within the definition. Multiple greyscale images were experimented to see which form would best adhere to the brief. This image used here has a high emphasis on a concave space, which could be useful when thinking of vehical access by trams or cars when creating the project. This interation however lacks expression on the exterior with the absence of curves.

CONCEPTUALISATION 41

B3: Case Study 2.0 BURST house | Sydney, Australia | SYSTEMarchitects | 2006 This is the BURST*003 house aka the Parish House by SYSTEMarchitects. They explore the concept of sectioning by creating a structured house that can completely be prefabricated and merely assembled on site. These particular sections are created with many factors in mind. Particularly environmental changes such as solar profile and climate changes. There are two areas that are intentionally separated to create a relationship between the exterior environment and interior. The creation of this house is unique as well in that it celebrates modern day planning of architecture. The planning

of architecture can now simply be done digitally with the implementation of physics simulation to create a model that represents its form as well as being structurally stable. The BURSThouse was designed exactly like this. The form was then unrolled and nested upon plywood sheets to be cut by robot-controlled laser. These cut pieces are then transported to the site to begin assembly. Steel members are used to connect each piece to form the structure. In this case study I'll closely be studying the roof and how it is sectioned.

FIG.38: BURSTHOUSE PLAN WITH PATTERN

CRITERIA DESIGN

FIG.39: BURSTHOUSE CONCEPT

FIG.40: BURSTHOUSE ELEVATION

CRITERIA DESIGN

DESIGN: Conc Concept Inspiration

•

Information given by brief

•

Relationship between exterior environment and interior

•

Structure designed based on the climate

•

Manipulation by weather

•

Prefabrication assembly

CRITERIA DESIGN

Parametric Planning

•

Inputing parameters that would serve as the basis of the design and fabrication

•

Sectioning applied through obtaining sections from the form created

•

Simulate joints that would complete the structure, making sure it holds together

cept to reality Reality Fabrication

Assembly

•

Plywood is cut by computercontrolled laser.

•

Cut sections are assembled and the structure is formed

•

Delivered to site with sheets numbered and labeled

•

Stainless steel clips secure each of these pieces to one another to form the structure.

Process can be repeated to create more houses that can be easily fabricated and simply assembled on site.

CRITERIA DESIGN

Reverse Engineering th

1. Starter surface and curve

2. Extrusion of curves

The surface is in the shape of the roof is modeled within rhino. The sectioning curves is then taken from the plan of the building as well.

The curves extracted from the plan shown in the previous page is extruded to cut the form underneath

Intended form and plan curve

CRITERIA DESIGN

Extrusion of curve

Intersection of sections obtained

3. Obtaining intersection curves The curves of the sections from the extrusion surfaces are then obtained

Convert to curves

he roof of Burst House

4. Boundary Surfaces are created The base surfaces are created from the curves

Boundary Surfaces

5. Extrusion of surfaces

6. Unifying the extrusions

Following up from the previous step, the surfaces are then extruded to create a realistic representation of the roof structure.

A solid union is created to trim away the intersecting elements to create one roof structure.

Extrude

Convert to brep

Solid Union

CRITERIA DESIGN

Outcome Reverse engineering the burst house (parish house) was proven to be quite tricky as I had to understand a few key concepts before being able to proceed with creating the definition to create the end product. The final outcome of this reengineering is quite satisfying. Methods for sectioning have now been more tightly grasped as I am able to recreate these sections in grasshopper myself.

FIG.41: REVERSE ENGINEER PLAN VIEW

CRITERIA DESIGN

The freedom of this method gives is very exciting as well. Sectioning can be done to almost any form and curve given, with the manipulation of form a different section will emerge. The next section will be manipulating this definition to its fullest extent in which we can control the parameters or even add and subtract.

FIG.42: REVERSE ENGINEER PERSPECTIVE VIEW

FIG.43: REVERSE ENGINEER ALTERNATE PERSPECTIVE

FIG.44: REVERSE ENGINEER ELEVATION

CRITERIA DESIGN

B4: Technique: Development

In this section, the exploration of sectioning is taken even further. From the previous reverse engineering, I will be manipulating specific parameters that correspond to the change of the outcome even if it is miniscule or completely altering it. The exploration of multiple elements from the structure will undertaken as I look at manipulating the form, starting curve and much more.

The selectiong criteria does not change much from the first case study as it heavily implements the brief's constraints and requirements. The interations will be categorized specifically to create a clear boundary for exploration.

Aesthetics

Is this iteration pleasing to the eye? How would users react to the sight of it?

Structure

Can the iteration stand on its own? What materials can be used to fabricate it?

Spatial Profile Environmental Implementation

Below serves as the criteria for extrapolating chosen iterations to further analyze whether they are suited for the brief.

CRITERIA DESIGN

Does the iteration allow a tram to pass through it? What about insects, users and other vehicles? Will this interfere with solar and light passage? What about rain water collection?

Exploration of the Interations 1. Curves 2. Form 3. Sections and Direction

CRITERIA DESIGN

Iterat

Cur Species

Straight Lines Variable = curves used

Iteration

Original BURST house curves

Straight lines

Grid lines

Diagonal lines

Mirror Diagonal lines

CRITERIA DESIGN

Curvilinear Lines Variable = curves used

tions

rves Closed Curves Variable = curves used

Circle offset

While testing the iterations specifically for curves. There was an error with generating boundary surfaces from curved sections. This led to the development of implementing a new technique to allow curved sections to be obtained. The surfaces are split and boundary boxes are put around those surfaces. The points are then extracted and deconstructed to trim off the excess extrusion by culling it with the given parameter. This is done twice with the trimming being done on top of the surfaces and below the surfaces.

Square offset

Triangle offset

Hexagon offset

Ellipse offset

CRITERIA DESIGN

For Species

Simple Geometries Variable = brep, Curves = Grid

Iteration

Sphere

Torus

Cuboid

Piped Curve

Cone

Hexagonal Pyramid

Ramp

Cylinder

Extruded Octagon Boolean Union of Circle, Pyramid and Square

CRITERIA DESIGN

Form G

Boo

Experimenting with the form for sectioning as proven to be very exciting because the combinationing of the manipulation in curves and form can be combined to create some complex results.

Complex geometries Variable = brep, Curves = Varied

Here in the iterations, different methods of curves from previous iterations have been used as well.

Generated through mathematical equations

Morphed Sphere

Voronoi structures traced on a curve

Concave Dodecahedron

AA Driftwood Pavilion form

Polar Zonohedron

Curved Surface Extrusion

olean difference with complex surface

Morphed Torus

CRITERIA DESIGN

Sections an Species

Vector X

Vector Y

Variable = Number Slider

X=0

Y=0

X = 17

Y = 13

X = 33

Y = 40

X = 77

Y = 70

X = 100

Y = 100

Iteration

CRITERIA DESIGN

nd Direction Number of Sections Variable = Number Slider

The experimentation in this part for the definition is playing with the parameters that manipulate the direction and number of sections of the extrusions. A simpler form is used to show more distinctive changes when changing the parameters. However, these parameters would apply to any other form that would be inputed as the started brep.

Step count on series = 0.550

Step count on series = 1.227

Step count on series = 2.205

Step count on series = 4.414

Step count on series = 7.724

CRITERIA DESIGN

Successful

Surface Extrusion

Voronoi Structure

Aesthetics Structure Spatial Profile

Aesthetics

Environmental implementation

Structure Spatial Profile

This iteration suceeded at showing me the freedom in creating a structure that would be sturdy to hold itself up. It is easily manipulated through rebuilding and moving the points of a surface as well. This allows the implementation of sheltered walkways and space for trams or vehicles to pass through this structure.

CRITERIA DESIGN

Environmental implementation

The exploration of grasshopper definition led to the knowledge of creating voronoi structures that would trace a curve within a populated box. This created unique, organic structures that seem extruded from a ground plane. Not only producing something that is aesthetically pleasing, but also allowing for trams, vehicles and people to pass through.

l Iterations

Piped Curve

Intersecting Radial Curves

Aesthetics Structure Spatial Profile Environmental implementation Aesthetics Structure Spatial Profile Environmental implementation

This method mostly focuses on the curves used. The intersections of the radial curves allow for a unique grid pattern that show elements of organic and is pleasing to the eye. This grid system would definately be looked upon when creating the sectioning for my project.

The piped curve allows for more controlled variable when it comes to creating a structure that fits the brief. It can be manipulated to become anything from and arc to a bench. The consistency allows for more experimentation and accurate structures to satisfy the brief.

CRITERIA DESIGN

B5: Technique: Prototyping Taking the valuable information from the iterations created by experimenting with the definition, prototyping was then considered for how the information gathered through digital means will apply in physical conditions. This will give me the opportunity to test the structural properties of sectioned forms before proceeding into a final model. I've chosen to create a few prototypes to experiment with the extent in which a form can be sectioned from my definition. From tutorials and scripting it is possible to unroll these sectioned pieces into the software, extending the capabilities of the definition to be able to create a laser cut file. I will primarily be working with a laser cutter to cut each section generated from the definition. Proceeded by a very satisfactory assembly of each piece to create the overall sectioned form.

FIG.45: NESTED PLYWOOD SHEET 60

CRITERIA DESIGN

Other tools such as CNC router and 3D printing do not serve much purpose because it cannot achieve the same results as laser cutting individual pieces. The main material used will be plywood to relate to the brief more. Since plywood is a sustainable material and will not add to the urban heat island effect, it is natural that this material would be used for the constraints of the brief. Waffle grid sectioning will be the primary method of sectioning here due to the constraints that curved, unrolled surfaces give. The grid appearance of waffle grids provide a more sturdy structure to the form as well. The nature of the grid system is that the connection requires precise joinery rather than an extra connection joint.

Morphed Pipe The first prototype failed due to the lack of organizing the pieces to assemble together. Many components will appear from sectioning a form and thus requires clear organising to be able to construct it. Future prototypes has been labled with X and Y followed by their respective numbers. X represents pieces extruded on the X axis and the same foes for the Y axis. Regardless of failing to assemble the structure properly, the outcome was still stabled and

FIG.45: FAILED PIPE SECTIONED STRUCTURE

FIG.45: NUMBERED SECTIONS CRITERIA DESIGN

Sectioned Pyramid The reason for sectioning a pyramid was to experiment and test the capabilities of sectioning a solid geometry. It has proven to be quite effective with the different compositions the sectioning forms as each side of the pyramid is shown. Furthermore, it creates a sturdy structure that can support itself due to its large base area as well as being aesthetically pleasing.

FIG.45: PYRAMID DETAIL

FIG.45: PYRAMID PLAN

FIG.45: 3 SIDES OF THE PYRAMID

CRITERIA DESIGN

Sectioned Surface Extrusion The reason for sectioning a pyramid was to experiment and test the capabilities of sectioning a solid geometry. It has proven to be quite effective with the different compositions the sectioning forms as each side of the pyramid is shown. Furthermore, it creates a sturdy structure that can support itself due to its large base area as well as being aesthetically pleasing.

FIG.45: PYRAMID PLAN

CRITERIA DESIGN

B6: Technique: Proposal Taking the valuable information from the iterations created by experimenting with the definition, prototyping was then considered for how the information gathered through digital means will apply in physical conditions. This will give me the opportunity to test the structural properties of sectioned forms before proceeding into a final model. I've chosen to create a few prototypes to experiment with the extent in which a form can be sectioned from my definition. From tutorials and scripting it is possible to unroll these sectioned pieces into the software, extending the capabilities of the definition to be able to create a laser cut file. I will primarily be working with a laser cutter to cut each section generated from the definition. Proceeded by a very satisfactory assembly of each piece to create the overall sectioned form.

FIG.45: SECTION FILLED WITH SOIL AND GRASS

CRITERIA DESIGN

FIG.45: PROPOSAL PLAN ON SITE

CRITERIA DESIGN

FIG.45: PROPOSAL ELEVATION

FIG.45: PROPOSAL PLAN

CONCEPTUALISATION

CRITERIA DESIGN

CONCEPTUALISATION 67

B7: Learning

Objective 1 Interrogating a brief by considering the process of brief formation in the age of optioneering enabled by digital technologies The brief was given to us fairly early on by our tutor. It started with a concept of increasing biodiversity and decreasing the urban heat island effect by creating an architectural tram stop that would do just that but would soon develop into connecting adjacent parks as well. This brief is challenging due to its many constraits and its large scale approach but it is very interesting to see where my project will lead. Objective 2 Developing an ability to generate a variety of design possibilities for a given situation by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration The iterations produced from my definition was very fun to do for both case studies. Simply because the act of sectioning is seen as a celebration of technology to allow forms to be sectioned and created through digital means itself. Working with different forms and seeing them becoming sectioned was very satisfying as well as visualizing each iteration on how they will perform under the constraints of the brief.

CRITERIA DESIGN

Objective 3 Developing skills in various threedimensional media and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication Working with grasshopper as definitely been the toughest aspect of the subject this semester. However, the slow start then escalated into understanding the concept of parametric design. The application of tutorials has lead to the development of creating my own definition to apply for my brief. I've always been quite good at rhino which was a slight advantage I had when creating forms. Scripting was applied to unroll my prototypes as well which was proven to be quite tricky to work with as I have no prior knowledge of scripting. Previous subjects had taught me how to laser cut files as well, but not on the scale of the prototypes created in part B. Objective 4 Developing an understanding of relationships between architecture and air through interrogation of design proposal as physical models in atmosphere The design process of this studio differs from others in that it removes us from the physical site and brings everything to a digital state. Visiting the site given and providing context as well as analysis is crucial in understanding the requirements that our design needs to cater towards.

g Outcomes

Objective 5 Developing the ability to make a case for proposals by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse. Making a proposal was hard because my bounds thinking tend to go outside the limitations of the world sometimes, having worked with more conceptual designs in the past. However, this brief requires me to do much more research and allows myself to create a concept design that will actually be physically possible given the information researched on as well. Further research and development will be put into the concept to ensure the best outcome for the project. Objective 6 Develop capabilities for conceptual, technical and design analyses of contemporary architectural projects The burst house reverse engineer was all done through design speculation and careful analysis of the conceptual diagrams provided by the architects. But not only was the form and sectioning taken into consideration, but the design intent was speculated as well. Thinking about how the design process of the project would occur. Both case studies were gone through with thorough analysis of its conceptuallity, technicality as well as its design. This is a valuable skill that will push me towards a more mature thinking towards contemporary architecture.

Objective 7 Develop foundational understandings of computational geometry, data structures and types of programming The weekly tutorials provided has improved my computational skills. It was intimidating at first learning a new software, however it allowed me to see the neverending possibilities of digital design. I have also extended my growth in exploring tutorials outside of the subject as well as learning to use plugins such as exoskeleton, kangaroo, pufferfish and python scripting. Objective 8 Begin developing a personalised repetoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application The development of my computational techniques can be seen in my algorithmic sketchbook. It serves as a useful tool to show in my portfolio for the future. The sketchbook will further be developed as my skills are honed towards computational design.

CRITERIA DESIGN

B8: Appendix - Alg

Voronoi S

FIG.45: VORONOI STRUCTURE ITERATIONS

CRITERIA DESIGN

gorithmic Sketches

Structure

CRITERIA DESIGN

Form created by Mathematical equation

FIG.46: KLEIN CURVE PERSPECTIVE

CRITERIA DESIGN

FIG.47: KLEIN CURVE ELEVATION

FIG.48: KLEIN CURVE PLAN

CRITERIA DESIGN

Bibliography

•

Archdaily, 2009. banq/officeda, Archdaily. https://www.archdaily.com/42581/banq-office-da

•

Lisa, Iwamoto, (2009). Digital fabrications. Architectural and Material Techniques (Princeton Architectural Press), Sectioning, pp.10

•

SPLUS, (2017). Sectioning in Parametric Architecture (steemit), https:// steemit.com/art/@splus/sectioning-in-parametric-architecture

CRITERIA DESIGN

C: DETAILED DESIGN C1: Technique Combination & Initial Proposal C2: Design Development and Final Concept C3: Techtonic elements & Prototypes C4: Final Detail Model C5: Improvements C6: Learning Objectives and Outcomes

DETAILED DESIGN

C1: Technique Combination & Initial Proposal

New Beginnings

he feedback received for Part B was very insightful as how to continue my project. However, there was a decision to create a joint design project with a partner within the design studio. This meant that we either had to merge our design concepts, or to combine it. Unfortunately due to the large differences between our concepts we decided to go with developing her initial proposal from part B. Reference to her works from part B can be found here: https://issuu. com/melissachong/docs/5chong_

melissa_864703_air_part_b. To put short, part C would be a design project from a new pair within the studio. The struggle of having different techniques developed over Part B were difficult to implement with one another as well. This would serve as the challenge of creating a new group to combat this design task and brief. Through this part C, we will be attempting to combine our techniques of sectioning and patterning, followed by creating a concept to help strengthen our

DETALED DESIGN

Precedents Built to Wear | Hong Kong | Ball Nogues Studio | 2009

FIG.49: BUILT TO WEAR BIRDS EYE

he Built to Wear is an installation done by the Ball Nogues studio. It is an art installation with over thousands of apparel hanging from it that were supplied by American Apparel, the largest gamernt factory in America.

-- being the clothing hung on top.

The installation serves as a reminder of how contemporary structures in cities are not permanent. The clothing used majorly hanged on the structure also spark thoughts of consumerism. Within a large nation like China, this can be interpreted in many ways.

The concept of this installation was for it to become a gesture of sustainability as well. Which would help us with understanding how a tensile structure would help with increasing environmental sustainability.

The development of this installation and placement of the clothing is relevant to our design development because of how it takes the concept of a tensile structure as well as conveying deep thought and meaning through the main material

The use of common household materials like pegs and shirts are also justified by the concept and challenges the way that most structures are fabricated and built.

Furthermore, how the clothes are laid out seem to be in the development of sectoning. Which is the branch of parametric design we wanted to implement wit1hin our proposal and final design.

1 NICO SAIEH, (2009) BUILT TO WEAR, ARCHDAILY. ACESSED VIA HTTPS:// WWW.ARCHDAILY.COM/44739/BUILT-TO-WEAR-BALL-NOGUES-STUDIO

DETAILED DESIGN

FIG 50: INSTALLATION

FIG.51: EXPLODED AXONOMETRIC OF DESIGN

DETAILED DESIGN

Initial Concept

ur initial concept revolves around the need of urban expansion and it's relationship between the decline of insect population. According to research done by Yale university, urbanization has caused the destruction of the insect's habitat that inevitably cause them to relocate or to survive in a dire environment.1

The graph below clearly demonstrates the decline of insect population over the years as we constantly focus on urbanization. If this continues, biodiversity within densely populated areas will most likely decrease. Our chosen insect, the ladybug is affected largely by this as well. Since they are highly dependent on their habitats as well as the food sources. Mainly the aphids which feed off certain plants within the environment.

houses the food source (the aphids) were to be taken away. That would cause the ladybugs to lose their stay in a particular environment. Although they do have a preferencte in pollen of certain plants. The aphids would be the source of healthiness for the ladybugs. We traced the cause of all this to the greed of humans. Due to the need of constant urbanization, we take this task above the preservation of biodiversity within the city. The consequences of that is the decline we've had over the years in all insect forms. With this in mind we wanted to show the effects of urbanization through this architectural design. We want to implement human interaction within the structure that would ultimately inform them of our problem at hand. This would essentially be a temporary structure that would slowly change overtime.

If this particular environment that 1 CHRISTIAN SCHWAGERL, (2016) WHATâ&#x20AC;&#x2122;S CAUSING THE SHARP DECLINE IN INSECTS, AND WHY IT MATTERS, VANISHING ACT. ACCESSED VIA HTTPS://E360.YALE.EDU/FEATURES/INSECT_NUMBERS_DECLINING_WHY_IT_MATTERS

FIG.52: RESEARCH GRAPH OF INSECTS

DETAILED DESIGN

Client Analysis

art of the Coccinellidae family, most ladybirds have dome-shaped bodies with six short legs, similar to her beetle counterparts. Depending

on the species, some of them can have spots, stripes or no markings at all. There are about 5000 species of ladybird across the world but the most common in Victoria are the transverse ladybird (the Coccinella transversalis), common spotted ladybird (Harmonia conformis) and the minute two-spotted ladybird (Diomus notescens). Though they may appear docile, these lady birds are known to be lethal killers to aphids in many eucalyptus plantations, and usually feeds on the immature stage of Eucalyptus leaf

FIG.53: LADYBUGS BURROWING

Habitat: During summer, they lay usually live among plants such as the nastarium, caraway flower, tansy, geranium, all of which are abundant in food source. However, in later autumn and early winter, they hibernate and huddle up in large groups of thousands under tree barks and lead litter. Besides huddling up, they also hide in cracks within houses to protect themselves from the cold. Defence mechanism: Their bright colours act as a form of deterence against her predators. When confronted, they give off a light scent and secrete an oily yellow fluid from the joints of their legs that prompts the predator to think twice. They also remain still and play dead when they sense the presence of their predator.

FIG.54: LADYBUGLIFE CYCLE

Reproduction: Usually, ladybirds lay their eggs in clusters on the underside of a leaf. After a few days,they turn into Larvae, where they undergo a growth spurt, in the course of shedding their skin several times. When they reach their full size, they attach themselves to a leaf by their tail, and a â&#x20AC;&#x2DC;pupaâ&#x20AC;&#x2122; is formed.After one to two weeks, the pupa develops into an adult ladybug. When I think about ladybirds, the two words that come to mind is grace and protection. At one glance, the gentleness of this docile creature makes her seem fragile, just like her butterfly counterpart. However, underneath that guise, lies a silent warrior. As a defence mechanism, ladybirds protects themselves by releasing a toxic fluid called hemolymph, repelling predators by its foul smell.

FIG.55: LADYBUG SKETCHES DETAILED DESIGN

Technique Combination

fter coming with the proposal, we wanted to implement both our techniques into this concept. As this is a newly formed group for C, the techniques of sectioning as well as patterning will be implemented. Through careful discussion for the concept as well as sketches there was already an image of the final outcome.

The development of a new technique was planned and divided into 4 parts in their respective order. Form finding, Sectioning, Patterning and number of scarves. Our development is mostly comprised of the combination of both our techniques to create an overall technique that would help us control the parameters that would eventually become our final project.

Development Iterations 1. Form Finding 2. Sectioning 3. Patterning 4. Number of Scarves

Aesthetics

Is this iteration pleasing to the eye? How would users react to the sight of it?

Structure

Can the iteration stand on its own? What materials can be used to fabricate it?

Spatial Profile Environmental Implementation

DETAILED DESIGN

Does the iteration allow a tram to pass through it? What about insects, users and other vehicles? Will this interfere with solar and light passage? What about rain water collection?

Species

Iteration

Iterations There is also a scared connotation

Form finding Mesh Relaxation Variable = Graph Slider

to these creatures as they are being refered to as Virgin Mary. They are believed to be a miracle sent from above to destroy the aphids that infected the crops and caused famine. Drawing inspiration from her reference to Mother Mary, the topic that I wanted to focus on is ‘protection’. The cloak she wears is heavily emphasized and could be identified with how it ‘blankets’ us. Blanketing gives us the idea of a vast shield that embodies a sense of security. In the past, though small, ladybirds have protected our sustainability through ensuring our food source. The wiping out of aphids was widespread yet at the same time rather gentle and almost seamless, far from large chaotic destruction. I wanted to bring out this gracefullness whilsts still keeping it extensive. Therefore, I decided to explore the qualities of fabric such as how it moves, folds, drapes and tightens. This serves as the initial stage of developing our design. Through the physics simulation plugin called Kangaroo within the Grasshopper program, we can simulate a tensile structure through implementing simulated gravity and a series of parameters that manipulate a surface that would rely on certain anchor points. The decision to do form finding through tensile means is because of the concept of ladybugs as protectors and them providing safety to plants as well.

DETAILED DESIGN

Sectio Form 1

Species

Variable = number slider

Form

Variable = nu

Iteration

n = 0.833

n = 1.902

n =.781

n =4.578

DETAILED DESIGN

n=0

n=1

n =.

n =4

oning

umber slider

0.833

1.902

Form 3

Variable = number slider

n = 0.833

Secondly, using a similar script created in part B. The initial form and surface generated from kangaroo is then extruded on the Z axie to create a solid form we can section. This form is sectioned using curved lines that are offset n = 1.902

in a series. Using the number slider parameter that manipulates the denseness of the offset curves we can control the number of sections that will be created in this form.

.781

n =.781

4.578

n =4.578

DETAILED DESIGN

Patte Species

Pattern 1

Patte

Iteration

Organic pattern

DETAILED DESIGN

Symmetric

erning

ern 2

cal pattern

Pattern 3

Uniform Pattern

After the phase of sectioning, there was an idea to generate patterns on top of the sections to serve as the design of the scarves as well as the

openings on panels that would allow the planting of specific plants to allow habitation for the ladybugs.

DETAILED DESIGN

Number o Distance between Scarves

Species

Variable = number slider

Width of

Variable = n

Iteration

n = 0.616

n = 3.000

n = 5.500

n = 7.703

DETAILED DESIGN

n=3

n=5

n=7

n = 10

of Scarves

f Scarves

number slider

3.000

To implement the human interaction part of this concept. We've laid out scarves on suspension wiring to allow for people to obtain it. This structure would be a temporary structure set around the end of autumn and approaching winter. The idea is to retain specific panels for ladybug habitats but surrounded by these scarves that provide a form of warmth as well as protection from harsh winds for these insects.. Humans with their greed and would want a free scarf if given the opportunity since it's winter soon. When more scarves are taken away, the habitats start to lose protection from the wind and harsh weather

FIG.56: PROPOSED SCARF

conditions that comes in winter. This would force out the insects from the habitat and back to the site next to it, Lincoln Square. All that's left would be an empty shell of what used to be a habitat filled with ladybugs.

5.000

Finally, sectioning is done once again on the opposite axis to determine the number of scarves we are to produce and how they are to be folded to achieve this design. The pattern process had to be done

first before this stage to achieve less uniform patterns on each scarf.

7.000

0.000

DETAILED DESIGN

Parametric Algorithm - Mesh Relaxation

Boundary

Rectangle

Explode

M plane

Geometry

Mesh edges

Deconstruct mesh

Load

Negative

DETAILED DESIGN

Unit Z

Surface

Point

Length

Graph

Evaluate surface

Control Points

Merge

Anchor Item

Merge

Solver

Construct Mesh

Button

DETAILED DESIGN

Parametric Algorithm - Sectioning

Brep

Extrude

Brep intersect

Surface Split

Z factor

Curve

Offset

Series

DETAILED DESIGN

Brep

Bounding Box

Extrude

Z factor

Deconstruct brep

Box corners

Decon

nstruct points

Cull

Brep

Extrude

Brep

Vector

Larger

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Parametric Algorithm - Patterning Surface

Isotrim

Divide

Surface box

Bounding Box

Pattern

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Morph geom

metry into dome

Solid intersection

Section geometry

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Parametric Algorithm - Further Sectioning Brep

Curve

Series

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Offset

Solid difference

Extrude

Unit Z

Surface

Extrude

Vector

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Proposal on Site

FIG.57: INITIAL PROPOSAL ON PLAN

ur proposed structure will sit inbetween Lincoln square and the tram stop, providing shelter for that area. This is because there are more pedestrians in that particular area that commute to work or students that return and go to the University. This location would serve as the ideal site to promote this structure and it's scarves to allow our concept to further take place. The structure will also provide proper shade for those who pass by, reducing the urban heat island effect. This structure would also serve as aesthetically pleasing to some people. However, the perception of that may change when the structure alters overtime. Not all the sections are going to made into scarves. Some sections will be preserved to create a hollow shell in which it will be filled with soil. These hollow sections would then be a â&#x20AC;&#x2DC;flower potâ&#x20AC;&#x2122; for the plants which the ladybugs will inhabit.

FIG.59: PANEL SKETCH

FIG.58: PANEL PERSPECTIVE

DETAILED DESIGN

FIG.60: PROPOSAL ELEVATION NORTH

FIG.61: PROPOSAL ELEVATION EAST

DETAILED DESIGN

C2: Design Development & Final Concept

Interim Feedback

e had the opportunity to present our initial proposal and concept in class. However, there were many criticisms regarding our design. One of the major problems we had was that scarves wouldn't be a realistic item to hang up in the turbulent weather of Melbourne. The issue of rain would cause the scarves to drop and become undesirable for people to take it. Another problem was that the ladybugs would be in that state because of us. By returning them to Lincoln Square past the structure's decay would imply that urbanization would not be at fault in this case. Using any form of packaging for the scarves would add too much weight and may impact the urban heat

FIG.62: PATTERN FOR RENATURATION

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DETAILED DESIGN

island effect. At this stage there were many changes that needed to be implemented before proceeeding. We started by going back to our concept and looking at more precedents to further strengthen the concept and design intent. Our concept involved a too radical of an approach, having to force out the already decline insects from a habitat created to just prove a point. We needed to grasp a better understanding of the information we had to be able to create a structure that would fully realise our concept. This was followed by developing new methods of parametric design regarding patterning as well as a new method of creating sectioning lines through means of grasshopper.

Precedents Renaturation of River Aire | Geneva | Superpositions | 2001

FIG.63: POST 1-YEAR OF PROJECT

Since if it was designed too complex, the changes that the water will create will not be as evident as it is today.

The project however, did not chose to destroy the canal. Rather they chose to embrace it and direct the flow of river aire elsewhere. They created a pattern of diamond shaped extrusions made of soil which will transform as the water from the canal shapes its form.

We found this very helpful in forwarding our design intent. We do not want our structure to combat the urban heat island effect. Nor do we want to just show the negative side effects of urbanism and the decline of insect population. This precedent would suggest a compromise, an understanding that urbanization is inevitable but instead of trying to reduce it, we should aim and try to ensure it attempts to retain the biodiveristy within our city.

he River Aire is a historic symbol of farming in Geneva. However, it was largely canalized through the 19th century. This project was a winner of the competition which sought to restore the river to it's original state.1

This way it provides a compromise between the conflict of nature and culture within the ecology. Since the lack of a canals would be a negative effect on contemporary agriculture. The grid system is intentionally left very open as well to allow more changes by the river.

The perspectives of our project began to change after the analysis of this precedent.

1 SUPERPOSITIONS, (2016), RENATURATION OF RIVER AIRE, ACCESSED VIA HTTP://WWW. LANDEZINE.COM/INDEX.PHP/2016/06/RENATURATION-OF-THE-RIVER-AIRE-GENEVA/

DETAILED DESIGN

101

FIG.64: SITE ANALYSIS

FIG.65: COMBINATION GRAPHS OF RIVER AND EXCAVATED PATTERNS

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Site Analysis

ow that we have a new perspective on the issue regarding our design as well as it's solution. We needed more information from the site itself. The initial proposal was done using mere assumption and guesses. This analysis would help strengthen our design concept and provide us with the essential information needed to move forward. We knew the specific data that

needed to be gathered, such as population density in certain areas, solar access through the day, a heatmap of pedestrians, and the difference in land of lincoln square compared to the urban areas. This would serve as the starting point as we will begin to transfer knowledge obtained by this study into virtual means and begin coming up with a parametric design.

Pathing Diagram

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Solar Access Diagram

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Pedestrian Heatmap

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105

Vegetation Diagram

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Concept Diagram

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Final Concept With all the information we needed. We revised and finalized out concept for our project.

e live in a time where urban expansion is important as our population increases. However, when this expansion happens we neglect biodiversity of our environment and remove habitats of various living creatures. We preserve biodiversity only through specific plots of land which are left as recreational parks as well as trees being planted on the sidewalk. However, architecture always seems to be somewhat separated from the preservation of biodiversity in our environment. (refer to vegetation diagram and compare the vegetation vs man-made areas) Our concept explores the idea of merging architecture and see how it can preserve biodiversity.

FIG.66: CONCEPTUAL PAINTING

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We will be focusing on extending the ecology of ladybugs, by implementing specific plants as well as a food source on the structure. We can essentially create a habitat for these ladybugs, while not adding onto the UHI as well as providing overhead shelter for pedestrians The material weâ&#x20AC;&#x2122;re going to use is plywood, reducing the urban heat island (UHI) effect. It is a sustainable material that does not add on to the UHI itself. It also provides good resistance of shear forces which is needed to house volumes of soil and plants on suspension. Parametric design (grasshopper) will be used throughout the design process as a means of providing more control over the design as well as fabrication process. Several methods of parametric design were used to achieve this design.

FIG.67: PARK DIAGRAM

Our goal remains the same, to extend the biodiversity of Melbourne. Our plan is still to connect Lincoln Square towards Argyle park as well as University Square.

LINCOLN SQUARE

NEARBY PARKS

This project will serve as a paradigm that can be used in multiple scenarios to extend the ecology and preserve biodiversity.

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C3: Techtonic Elem Pseudo

Minimal Surface Construct Mesh

Deconstruct Mesh

Mesh

Spring rom Mesh

Rest Length Factor Anchor Points

We came up with a new method of creating a tensile surface. This code would allow us to implant anchor points based on real life positions to allow realistic simulation of the tensile surface.

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Kangaroo

ments & Prototypes o Code

Radial Lines Based on the Density of Pedestrians Curve

Offset

Anchor Pt Series

Multiply

Remap

Graph

Remap

Domain

The sectioning lines are intentionally done through grasshopper to extend the capabilites of our script in controlling it's parameters. With the information of the site and our heatmap. We can determine the start of the radial curves. The distance of the radial curves begin to increase as we move away from the centre point. This is to provide shelter particularly at those dense areas. Since the plan is to highly populate the radial lines in the centre point with ladybugs and the outer with their food source, the aphids.

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Sectioning Radial Lines

Extrude

Deconstruct Brep

Bounding Box

Brep

Surface Split

Factor

Unit Z

Brep/Brep

Extrude

Spring Surface

Brep

Edges

Curve

Determining requirements for suspension wiring Brep/Brep

Wiring above

Brep/Brep

Wiring below

Brep

Surface / Circle

Branch

Shift

Flip

Point

De Surface

Unit Z

Extrude

Curve Anchor Points

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DETAILED DESIGN

Deconstruct

Box Corners

Bounding Box

Brep

Cull

Larger

The sectioning method is done as learnt in part B. However it is done with extruded curves from the previous definition. This creates surfaces that overlap one another and forms a waffle structure. As conceptualized, the denser areas with more surfaces will provide more shade to the areas with more pedestrians.

raft

Evaluate Surface

Surface Closest Point

econstruct point

Point

econstruct point

Point

Circle

Move

Radius

Unit Z

Distance

Curve

Index

Sort

Item

Point ordered by

Line

Proximity Centre Point The data obtained from the

Shift

Length End

extrusions as well as real life anchor points allow us to create openings for wires to run through the areas

Top and Bottom

which are not supported by the waffle system. It also allows us to determine the length of wire needed as well as create openings for these wires to run through them.

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Patterning Brep Path

Branch

Unrolled Brep

Bounding box

Deconstruct Brep

Deconstruct Brep Item

Surface Divide

The patterning script has been improved as well. Instead of doing a solid difference on a grid towards the surfaces, the surfaces are

Cull

Surface Closest Point

unrolled. The unrolled surfaces then have a pattern applied to it and that patterned surface is applied back

Edge Surface

Equals

to its original position. Creating a patterned surface. These patterns would serve as openings to allow

Clean

Cull

plants to grow out of the sides of the panels as well as ladybugs to burrow. We used image sampling of ladybug patterns to retain the organic elements of it's shell as well as providing openings of specific sizes that allow the minimum size and maximum size of ladybugs to burrow into the openings. Specific openings are big enough for plants to grow as well.

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DETAILED DESIGN

Image Sampler

Clean

Eva

(flo

aluate

oor (x*4/4)

This definition separates the

Surface Extrusion

surfaces into specific branches as

Branch

Surface

Offset

Brep

utilizes a plugin called lunchbox to offset the surfaces uniformly and creating a panel with depth.

Path

Distance

This was crucial in generating an accurate digital model as well as 3D printing the model.

No. of sides

Create Set

Replace

Polygon

DETAILED DESIGN

115

Iterat Species

Sectioning Curves Variable = graph mapper

Iteration

Belzier Graph

Sinc Graph

Conic Graph

Sine Summation Graph

Gaussian Graph

Graph mappers were used to determine the frequency of radial curves. We ended up using the conic curve due to its ability to create a radiating curve with varying distances between each curve based on the distance from the 116

DETAILED DESIGN

centre point.

tions

Number of Sections Variable = number slider

n=10

n=26

n=50

n=100

The number of sections is important as the distance between sections will constitute the growth of the plants that will be planted in it. If they are too near to each other, there will be near to no solar access and would be too heavy to sustain tensile forces.

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117

Pattern

Species

Variable =

Iteration

UV=50

The density of pattern can be manipulated to achieve varrying results. A higher density of UV points was used due to it's ability to morph and disorient the pattern generated to retain the organic form and pattern we desired.

UV=

118

DETAILED DESIGN

ning Grid

= UV points

UV=200

=100

DETAILED DESIGN

119

Image Sampler

Species

Variable =image used

Iteration

120

DETAILED DESIGN

There was experimentation to what image we should use and whether the ladybug pattern would be too simple. After testing with other patterns. It is evident that the lady bug pattern would be better suited due to the organic chapes that it provides. The pattern also generates 3 shapes which is more than other images. The irregularities are also only shown when the UV points are manipulated.

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Initial Prototyping: Perspex

FIG.68: PERSPEX PROTOTYPE CLOSEUP

nitially when prototyping our panels, we decided to start off with perspex as it would be interesting to see the growth of the interior soil profiles as well as plants. The ladybugs would be visible during winter as well when burrowing. However, through testing with the material it would have seem that perspex cannot withstand tension forces as well as we wanted it to. The panel broke after minimal bending as seen in the image. Furthermore, perspex would contribute to the urban heat island effect due to the creation process of plastic and wouldn't be able to structurally sustain the forces that it would have to bear with.

122

DETAILED DESIGN

FIG.69: PERSPEX PROTOTYPE NEAR COLLAPSE

FIG.70: PERSPEX PROTOTYPE COLLAPSE

FIG.71: PERSPEX PROTOTYPE BACK PERSPECTIVE

DETAILED DESIGN

123

Initial Prototypes: Plywood

FIG.72: PLYWOOD PROTOTYPE ELEVATION

rom there we moved towards creating our prototype panels using plywood. As it would be a sustainable material. From there we were fairly satisfied with our results. The model had the ability to retain the soil we put in it. However we had used tape to cover the openings which ultimately doesn't move us at all. Soon we realised the openings were too big that allowed the soil to leak out of it. We needed to control the size of openings and determing a maximum length of 40 mm wouldn't be surpassed from this so that the structure wouldn't leak soul.

FIG.73: PLYWOOD PROTOTYPE CONNECTION CLOSEUP

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DETAILED DESIGN

We would continue to use plywood due to it's ability to withstand shear and tension forces and its strength regardless of being thin. Marine grade plywood would be used as well because these panels would be exposed to water often and would need to sustain moisture for extended periods of time.

FIG.74: PLYWOOD PROTOTYPE PANEL CLOSEUP

FIG.75: PLYWOOD PROTOTYPE PANEL LAN VIEW

DETAILED DESIGN

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Final Prototype

rom previous prototype testing, we had determined our desired material. Which was marine grade plywood. However, there were many flaws that needed to be fixed before creating the final prototype. One problem we encountered was that the pattern generated was still somewhat uniform which we did not want. The UV grid density was increased to create more anomalies between each pattern. Next, we used fabricational scripts to help us generate interlocking teeth between edges to create proper connections to the panels. Because realistically glue wouldn't hold for extended periods of time

especially when exposed to harsh weather conditions so openly. Soil was filled into the panels once again. This time without tape even covering it. We found the results satisfying as soil wouldn't leak as long as extreme shaking was absent. Plants were implanted into the structure as well to simulate how the panels would hold the plants in the end product. Extensive research also shows that we would require different thicknesses of plywood depending on the curvature we need to achieve. The centre point where it is bent to a full circle would have a plywood thickness of at least 5mm while the further parts can reach thicknesses up to 20mm

FIG.76: FINAL PROTOTYPE PERSPECTIVE

FIG 126

DETAILED DESIGN

G.77: CONSTRUCTION DIAGRAM

Construction Diagram

FIG.78: NASTURTIUM PLANT

FIG.79: ANJELICA FLOWER

As stated before, the construction process here will heavily rely on laser cut files that can be generated from unrolling as well as the tabs. Followed by assembly on site. The plants that will populate this structure will be the Nasturtium flower and the Angelica flower. The Nasturtium would serve as the habitat for aphids which are the ladybug's food source and water source. The Angelica flower would serve as the ladybug's habitat due to their fondness of the flower's pollen. This creates an artificial ecological enviroment that would allow the insects to survive upon one another.

FIG.80: LASER CUT PRODUCT

FIG.81: EXPLODED DIAGRAM FOR PANELS DETAILED DESIGN

127

DESIGN: Conc Concept Inspiration

128

•

Information given by brief

•

Environmental sustainability

•

Parametric Planning

•

Simulating real life conditions in the virtual model. (anchor points, building heights, etc.)

Reducing the Urban Heat Island effect.

•

Creating tensile structure that serves as the initial form when extruded.

•

Extending the ecology and preserving biodiversity

•

Generating radial curves from a graph mapper

•

The collision of preserving biodiversity and architecture

•

Sectioning the initial form, creating the waffle structure.

•

The effects of urbanisation on insect population

•

Unrolling the surfaces of the structure and applying a pattern onto it. Pasting it back to place.

•

Unrolling these surfaces and patterns, generating laser cut files

•

Applying interlocking teeth definition

•

Apply intersecting ribs definition

•

Length of suspension wiring obtained from definition

DETAILED DESIGN

cept to reality Reality Assembly

Fabrication

•

Plywood is cut by computercontrolled laser.

•

Cut sections are assembled and the structure is formed

•

Delivered to site with sheets numbered and labeled

•

Suspension wires are set up on anchor points and attached to structure to support unwaffled areas.

•

Preparation of soil and flower seeds •

Soil is filled in all panels

•

Seeds are planted within the soil, particularly the openings at the side.

•

Sealant applied to all edges to secure the positions of the connection.

DETAILED DESIGN

129

C4: Final Detail Model

hrough all the prototyping done, we took all the information needed to create a final 1:1 panel prototype of the model. This would serve as a key example on how to create the structure for the panels. The prototype was meant to visualize the panels on a closeup scale. We accompanied this model with a 3D printed model using ABS plastic with an accurate site model. This will allow us to visualize the structure on a larger scale as a whole. Despite having a couple of problems with the 3D printing, we were largely impressed at the final product though imperfect.

130

DETAILED DESIGN

FIG. 82: PERSPECTIVE RENDER FROM NORTH-EAST

CONCEPTUALISATION 131

Panel Prototype 1:2

FIG. 83: FINAL PROTOTYPE BIRDSEYE SHOT

132

DETAILED DESIGN

FIG. 84: FINAL PROTOTYPE BIRDSEYE SHOT ALTERNATIVE

DETAILED DESIGN

133

FIG. 85: FINAL PROTOTYPE CONNECTION CLOSEUP

FIG. 87: INTERSECTION CLOSEUP

134

DETAILED DESIGN

FIG. 86: OPENING CLOSEUP

FIG. 88: INTERSECTION PLAN VIEW

FIG. 89: FLOWERS IN PANEL

FIG. 90: HOLLOW PANEL DETAILED DESIGN

135

FIG. 90: CLOSEUP EAST INTERSECTION

136

DETAILED DESIGN

FIG. 91: DETAIL VIEW DETAILED DESIGN

137

138

FIG. 92: FINAL PROTOTYPE CONCEPTUALISATION

CONCEPTUALISATION 139

3D model 1:100

FIG. 93: 3D MODEL ON SITE MODEL

140

DETAILED DESIGN

FIG. 94: 3D MODEL ON SITE MODEL SIDE VIEW

DETAILED DESIGN

141

FIG. 95: CONNECTION DETAIL

142

CONCEPTUALISATION

CONCEPTUALISATION 143

FIG. 96: STREET VIEW FROM SITE MODEL

144

DETAILED DESIGN

FIG. 97: PLAN VIEW

DETAILED DESIGN

145

146

CONCEPTUALISATION

FIG. 97: TRAM STOP VIEW FROM SITE MODEL

CONCEPTUALISATION 147

FIG. 98: BIRDSEYE VIEW FROM BUILDING

148

DETAILED DESIGN

FIG. 99: VIEW FROM LINCOLN SQUARE

DETAILED DESIGN

149

150

CONCEPTUALISATION

FIG. 100: PERSPECTIVE RENDER SOUTHEAST

Perspective Renders Using the software v-ray as well as the accurate digital model we had. I produced renders that would allow us to visualize the structure in real life conditions.

DETAILED DESIGN

151

152 101: PERSPECTIVECONCEPTUALISATION FIG. RENDER NORTHWEST

CONCEPTUALISATION 153

FIG. 102: PERSPECTIVE RENDER SOUTHWEST 154 CONCEPTUALISATION

CONCEPTUALISATION 155

FIG. 103: PERSPECTIVE RENDER NORTHEAST

156 CONCEPTUALISATION FIG. 103: PERSPECTIVE RENDER NORTHEAST

CONCEPTUALISATION 157

FIG. 104: PROPOSAL PLAN 1:100 158

CONCEPTUALISATION

PLAN 1:100 CONCEPTUALISATION 159

FIG. 105: WEST SECTION 1:100

160

DETAILED DESIGN

FIG. 106: SOUTH SECTION 1:100

WEST SECTION 1:100

SOUTH SECTION 1:100 DETAILED DESIGN

161

C5: Improvements

162

t this stage of our journey through the design process. We had a final presentation that we would receive feedback upon our design. We were mostly satisfied with our results and the outcome of the model as well as the concept.

It could even be a walkable surface on its own, becoming an overhead bridge for pedestrians in that area. Due to the time constraints I cannot further experiment with these forms however they are definitely possible through grasshopper.

However, more improvements could be made with the interaction of pedestrians on the structure. Our structure extends upon the current tramstop, perhaps a image sampler and graph mapper could manipulate the extrusions to create a whole structure non-dependant on tensile forces and become the tramstop itself.

In the end this structure could be applied onto any site. Due to the information gathered from our site. So long as there are proper anchor points, some of which can be intentionally installed. This structure can be replicated on another site as well. Which we are very satisfied with.

DETAILED DESIGN

FIG. 107: INTERSECTING PANEL DETAIL

CONCEPTUALISATION 163

C5: Learning Outcomes Objective 1 Interrogating a brief by considering the process of brief formation in the age of optioneering enabled by digital technologies The brief was already very well understood from part B. Though this time there was a deeper analysis of it and how it would apply to our design concept. We took the valuable feedback taken from our tutor and crits to further develop our design. The importance of analysing the site was instilled upon us as well as the diagrams dramatically helped us with pushing out design forward. Objective 2 Developing an ability to generate a variety of design possibilities for a given situation by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration Our grasshopper definitions had changed many times throughout this design process due to the need of different plugins and specific needs. The script we had created specifically had parameters we could manipulate to create iterations that can extend our knowledge as well as provide more options as how to proceed with our design.

164

DETAILED DESIGN

Objective 3 Developing skills in various threedimensional media and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication Before studio Air, I was very unfamilliar with grasshopper as well as digital fabrication processes. This subject has definitely improved my understanding and skills in those aspects. The 3D printing as well as laser cuts of our model were successful through understanding these processes. It was satisfying to obtain data from the grasshopper definition and fabricating the model through and only through that data. Objective 4 Developing an understanding of relationships between architecture and air through interrogation of design proposal as physical models in atmosphere The air in this case refers to a abstract form in which we are creating an architecture structure purely through parametric design. Which in that sense is in "air". The physical side of things require more prototyping with materials due to the lack in our knowledge of simulating materials within grasshopper itself.

Objective 5 Developing the ability to make a case for proposals by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse. The final presentation was our last chance to show our project to a panel of professionals. It was good to see the improvement from part B leading up to this final product. There was a couple of things that we couldn't get across to the panel such as the suspension wiring due to the lack in time management of the presentation. However, this just proves how important it is to utilize that time well. Even past the final presentation there will always be more improvements that can be done to our design. But this subject has helped me in making a case for my proposal. Objective 6 Develop capabilities for conceptual, technical and design analyses of contemporary architectural projects Through our design, we were stuck as how to proceed with the development of out design concept. The precedents have provided a platform in which we can mature our understanding on some conceptual ideas that they pose. The River Aire project for example showed us a different perspective on how to achieve the co-existance of contemporary development and nature. Research on materials was done as well to determine sustainability and bending forces.

Objective 7 Develop foundational understandings of computational geometry, data structures and types of programming My grasshopper skills have developed very far from week 1 of this subject. I can gladly say that it was all worth it as I can now apply grasshopper into my arsenal of design applications in future projects. In part C there was definitely the need to learn even more parts of grasshopper. I've learnt so much about the program yet I still feel like I've only scratched the surface of what it's capable of. However, the understanding of data and scripting has increased from this subject. Objective 8 Begin developing a personalised repetoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application Our final models, both 3D and the panels were created from our grasshopper definition which. It can definitely be done in other ways but none as efficient as parametric design. There are definitely flaws with purely relying on computational means such as the small error margin you have in order for the definition to succeed. All in all, computational design has much more potential to create design for architecture but only through human interaction with it.

DETAILED DESIGN

165

Studio #12

Thank you for the semester. 166

THANK YOU

CONCEPTUALISATION 167

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