Air
ARCHITECTURAL DESIGN STUDI0 _ SEM 1 _ 2013 JOHN CARLOS RAMOS
C O N T E N T S
INTRODUCTION ABOUT THE AUTHOR PREVIOUS WORKS PERSONAL PROJECTS
PART A EXPRESSION OF INTEREST 1
CASE FOR INNOVATION
ARCHITECTURE AS A DISCOURSE
WATERCUBE (H2O)3 Lyon-Saint Exupéry Airport Railway Station
COMPUTATION IN ARCHITECTURE
ICD/ITKE RESEARCH PAVILION
PARAMETRIC MODELLING
DeRMOID DOROBANTI TOWER
CONCLUSION
WYNDHAM GATEWAY PROJECT LEARNING OUTCOMES
NOTES
PART B EXPRESSION OF INTEREST 2
DESIGN APPROACH
BIOMIMICRY: LESSON FROM NATURE CASE STUDY 1.0 THE MORNING LINE GRASSHOPPER DEFINITION MATRIX GRASSHOPPER TECHNIQUE CASE STUDY 2.0 DIGITAL ARCHITECTURAL LAB (DAL) CANOPY NATURE AS INSPIRATION
DAL CANOPY - REVERSE ENGINEERING EXPLORATION 1 EXPLORATION 2 EXPLORATION 3 EXPLORATION 4 STRUCTURE EXPLORATION PATTERNING EXPLORATION MATERIAL EXPLORATION SKETCH ALGORITHM CONCLUSION LEARNING OUTCOMES LEARNING OBJECTIVES
APPENDIX GRASSHOPPER ALGORITHMS LOFTING & PIPES LOFTING & MESH
ROSETTE ROSETTE AND “THE MORNING LINE” DEFINITION
INTRODUCTION
JOHN CARLOS RAMOS YEAR 3 - ARCHITECTURE THE UNIVERSITY OF MELBOURNE
WHY ARCHITECTURE? As a young age, I was fascinated by the construction process. I remember spending time in the neighbour extending their house and observing how reinforce steel mesh are laid and then the process of pouring concrete. Then when I moved to Australia, new design and construction possibilities has open up – timber cladding, rustic brick house with modern take on the interior, innovative bridge form such as Webb Bridge in Docklands, Melbourne. Possibilities are endless! For that reason, I started to appreciate structures that affect people visually – through innovative cladding system, vertical garden running through the façade, illuminating colour display projection during the night or out-of-this-world forms. I am also profound by historical buildings that give you chills because you just have witness the haunting ingenuity of the past designers. I want to be part of that!
DIGITAL EXPERIENCE I have used Google SketchUp previously for 3D modelling for Virtual Environments. In terms of drafting, predominantly I hand drawn my design however I have the basic knowledge of Autodesk AutoCad. I am actually looking forward to learn Rhino together with Grasshopper as a plug-in to produce exciting new forms and experiment with intricate textures this semester.
PERSONAL PROJECTS VIRTUAL ENVIRONMENT HEADSPACE 2010
Virtual Environment was a great introduction of digital designing. The aim for the student was to gain an understanding how media can shape the real world environment. Headspace was the major project for the semester involved constructing a headpiece. Initially, we have explored the material properties such as paper and plasticine. This enabled students to understand the limitations and opportunities that these materials have to offer. Then we have to look at architectural precedents to gain inspiration from their techniques in designing. Our understanding of materials and techniques were then come to play on digitizing and fabrication of the final model realizing the suitability of the paper for the construction as well as detailing it. My final design was influenced by natural system particularly the structure of the bird’s head. Furthermore, it also echoes the work of a Spanish architecture, Santiago Calatrava Concert hall of Tenerife, Spain. My design intentions was to achieve rough look representing the attribute of a natural environment being uncontrolled.
ARCHITECTURE DESIGN STUDIO:EARTH PROSPECT & REFUGE 2012
The project encompassed the theory of “Prospect and Refuge�. This particular exercise of design process dealt with the playful creation of shadows through enriching of the detail of the scheme for a outdoor performance stage.
The design was formed by the exploration of materials through model making. I have experimented with the physical properties of the paper by creating curvilinear surfaces as well as weaving yarn around the sticks. Then further articulate the shadow by cutting out patterns on the surface. However, computerisation was not reinforced rather presented hand drawn. On the later exploration of the proposal for the Wyndham Gateway Project, I could use this knowledge of materials that I have gained to form an interesting shapes.
Part A
CASE FOR INNOVATION EXPRESSION OF INTEREST 1
Innovation points to an attitude and an ethos that might be summarised in the simple directive of: ‘make a difference’ Ednie-Brown, Burry and Burrow
ARCHITECTURE AS A DISCOURSE CASE FOR INNOVATION As a contemporary architect, we thrived to express our own input to the industry to showcase our own beliefs, traditions even our experimentation as our own take to “make a difference”. We then contribute to an ongoing communication process through a vast range of media that encompasses artifacts, knowledge and practices1 being the Internet as the fast phase means to converse.
In the history of architecture, we have observed the technologies and processes made available were the driving force of built forms. Nowadays, technology enabled us to create complex architectural forms to go beyond the norms consequently we challenged traditional methods – planar, orthogonal and repetitive2. Symmetry and system of proportion are evaded to allow fluid fields of flexible spines, blobs and NURB surfaces. Furthermore, organic form of organization is adopted to replace the absolute closed, systems3. This process is so called innovation, ‘introduction of new things or methods into established practice’ 4.
In the case of Greg Lynn, his practice is based on innovating through the adaptation of technology5. Initially, he intervenes to the architectural discourse of tectonics with his blob as a way to rethink the architectural form and design technique6. Then, he progress toward digital and other advanced fabrication technologies taking on architectural construction, materiality and formal languages7. The proposition of the merging robots and buildings were his own way to see the future of architecture8. Now we are going to look at State of the Art precedent that made their mark in the discourse of architectural innovation.
STATE-OF-THE-ART PROJECT WATERCUBE (H2O)3 PTW, Architects; and Oye Arup; Engineering Group
Watercube contributes to the discourse of innovation through construction advancement and innovative materials. This state-of-the-art project provides opportunities for collaboration between disciplines of architecture, engineering as well as material manufacturing. This iconic National stadium adopted a simple square geometry to reference the country’s culture – “Chinese ideals of regulated harmony”9 – however incorporated an innovative façade that reference the natural system. The cladding system was inspired by the soap bubble structure. This influence from nature rejects the notion of conventional stadium structure being reliant on gigantic columns, beams and slabs which dominates the building10. Therefore, the new design approach takes into account the walls, roof, structural elements and aesthetics to be unified as one system. This resulted with a unique continuous form11. The skin of the Aquatic centre is made up of inflated transparent plastic film called Ethylene Tetra Fluoro Ethylene (ETFE). This type of system is cost effective cladding solutions as well as sustainability. This material does not degrade under exposure of ultra-violet light or other means of atmospheric pollutant12. Visually, people perceive Watercube as “serene, emotion-engaging, ethereal and poetic”13. This innovative state-of-the-art project provides opportunity perhaps to engage the public to change their perspective to conventional buildings to something new and inspiring creative work.
Model of the Watercube structure
Watercube spectacular view at night
Exterior cladding system of Watercube using inflated
Ethylene Tetra Fluoro Ethylene (ETFE).
Lyon-Saint Exupéry Airport Railway Station Santiago Calatrava
Santiago Calatrava’s scope of knowledge in design is vast considering his eclectic education – arts, architecture and engineering. His approach, in engineering’s perspective goes beyond merely solving technical problems. He treated it as “an art of possible” allowing innovation to seek a new vocabulary of forms14 whilst incorporating his passion towards uniting structure and movement15. The contemporary railway station that Calatrava designed initially appeared to be a prehistoric bird ascending from the ground or other animals suggesting the influence in nature. He greatly emphasized that he does not imitate the organic form of nature rather he learnt from it through observing its strong visual movement16. However, his inspiration was his early abstraction of the human eye influenced by Egyptian hieroglyphic17 which he also sculpted, Bird I (1986). Visually, Lyon railway station has strong sense of directionality innate on its form. This is advantageous in terms of travellers progress around the building without reinforcement of signs which contrasting the method of other many contemporary terminal designers18.
External view of the railway station
Abstraction of human eye and Lyon Airport Railway station
As has been observed, this State-of-the-art project not only achieved the brief to “provide smooth passenger flow while creating an exciting and symbolic gateway to the region”19, but it also contributed to the discourse of innovation using multidiscipline approach, being the art as the catalyst.
Bird I sculpture, 1986
Roof of the main hall emphasizing the strong sense of direction that is innate on Lyon Airport Railway station.
We’re changing the world with technology. Bill Gates
computation in architecture EVOLUTION OF DIGITAL TECHNOLOGY As cliché as it sound, we often use the phrase “we are only human after all” when making a mistake. It is in our nature to be easily bored, distracted or make mistake when confronted with large and complex problems. Therefore, we invented computers, in a way to be superb analytical engines, which never tire, nor make silly arithmetical mistake and able to search through series of information stored in its memory. However, this technology has limitation being reliant to set of instructions called programs. Furthermore, they are not able to produce their own new instructions due to lack of creative abilities and intuition that we human have20. The architectural practice is undoubtedly changed as a result of contemporary digital technology widely accessible today. The term computation is generally the use of computer to process information through codes which are expressed with particular set of instructions called algorithms21. In Grasshopper for example, designers utilise it to solve a particular design problem then the software allows further modification maybe through sliders as number inputs. This process is defined as sketching through algorithms. It is advantageous since it allows the designers to be creative and adventurous in problem solving of highly complex situation22. The advancement in computer-aided design (CAD) and computer-aided manufacturing (CAM) technologies open up new opportunities in building design and construction practices. This progression in digital technology allows experimentation with complex, curvilinear forms which thought of earlier to be difficult and expensive when employing traditional methods. In relation to construction and fabrication, the process can be more direct and more complex since the information can be communicated easily with greater speed. Furthermore, architects are provided by an opportunity to be involved with the construction process and to have more control over it23.
STATE-OF-THE-ART PROJECT ICD/ITKE research pavilion University of Stuttgart, Faculty of Architecture and Urban Planning
The ICD/ITKE Researched Pavilion recently contributed to the discourse of innovation with their investigation of potential collaboration of biomimetic design and robotic production. This multidisciplinary project – architecture, engineering and biology – introduced a new type of construction method with the experimentation of the exoskeleton of the lobster as see in the natural system as well as using composite materials24. Initially, the designers will simulate the structural integrity of the crustacean’s shell to produce a fibrous composite form. This is achieved using computer-generated design and simulation methods which resulted an end product of four millimetre thick composite shell with a span of eight metres25. The project exhibit an innovative robotic fabrication process involving morphing glass and carbon fibres into a structurally stable pavilion. The carbon fibres are responsible for the structure due to its rigid properties whilst the glass fibres predominantly handled the formwork of the layers26.
Elevation
Robotic fabrication process
The innovative ICD/ITKE Research Pavilion which is inspired by the exoskeleton of the lobster.
Design is change. Parametric modeling represents change. Robert Woodbury
PARAMETRIC MODELING PARAMETRIC MODELING, INNOVATIVE THINKING? In parametric modelling also known as constrain modelling, designer no longer just add and erase. The fundamental changes are incorporating add, change, relate and repair. Therefore, designers will learn to explicitly think about the relations of different parts. Repairing is also essential to consider after deleting parts due to modification of the design. The link between the remnant parts need to be connected back to create a continuous relationship27 which associated with positive and negative implications. In the conventional designing tool, it is easy to produce an initial model on the other hand manipulating the design is a totally different scenario. The parts are independent therefore altering it required manually adjusting it – in summary, the more complex the shape, the more labour intense and time consuming it is. Nonetheless, deleting parts is uncomplicated because it is not related to other parts. Parametric modelling alternatively has the luxury of manipulating the shape and experiment with an ease however a need for repairing the relationship is required when erasure of parts occurred28. Parametricism is normally though of a process instead of aesthetic expression since the definition of the system is based on relationship. This tool is becoming an influential tool for architects in terms of designing buildings in a faster and efficient manner. However, Schumacer intentionally negate parametricism as being a process since he explicitly advertised it as a new type of aesthetic expression exploiting the power of computer modelling software29. This will later be discussed in the work of Zaha Hadid.
STATE-OF-THE-ART PROJECT DERMOID Centre for Information Technology and Architecture (CITA), Royal Academy of Fine Arts, School of Architecture Dermoid is year worth of research project using parametric modelling. The final design of the pavilion is constructed by series of bent joint wooden elements30. In the exploration of the form using Grasshopper, one of the problems that the designers had encountered in modelling the pavilion was its uneven doubled curved surface. The most natural solution that they have initially attempted was to draw a surface in two dimension then wrapping it into the three dimensional shape. As a result, it created so much distortion and losing the original property of the surface – the elements either becomes too Dermoid Pavilion long or short. This complication shows either the limitation of the software or we are designing in the vocabulary of the program31. Another solution was also implemented which determined the form of the pavilion, it is to use swarming algorithms. The process involved creating random points on the surface then setting them apart until desired distance is reached. With this algorithm, it is possible to produce the same length of constantly without having distortions32.
Swarming algorithm applied on Dermoid
The form of the Dermoid manipulated using Parametric Modelling.
DOROBANTI TOWER Zaha Hadid Architects
Parametricism is being explored by the work of Zaha Hadid Architecture. They are claiming it to be the greatest new style after Modernism, consequently replacing Postmodernism and Deconstructivism. This style as previously argued by Schumacer, is rejecting the ideal geometric figures as has been observed on the history of architecture such as cubic volumes, cylinders, hemispheres and pyramids in favour of splines, blobs and NURB surfaces. As a result, the elements of architecture evolved into parametrically malleable which provides opportunity to use this technique in interior as well as exterior incorporation33. Zaha Hadid Architecture formed a dedicated research group to innovate using parametric systems. The research of parametric towers is part of their investigation including Dorobanti Tower (2008-2013). The main component that is applied in this tower is the octagonal shapes which possess visual property contributing to the diagonal feeling of the structure. The faรงade consist of two main function being structural and enclosure that are modelled through a computer code which incorporated the slab size and location to be the main input. Furthermore, the structural layers located in front of the smaller patterns of mullions and transom of glass are also generated with similar computational process. However, the form is altered due to having different parameters applied on it 34.
Incorporating octagonal shape on the facade
Facade - structural and enclosure
Dorobanti Tower, part of the Zaha Hadid Architects’ parametric towers research.
Creativity is contagious. Pass it on. Albert Einstein
conclusion WYNDHAM GATEWAY PROJECT In the contemporary architecture, we are given plenty of prospects to innovate. The technologies that are currently accessible allow designers’ creative ideas to be materialised consequently either challenge or contribute to architectural discourse. My purpose as part of this era of digital technology is to be involved into the architectural discourse given the opportunity of the Wyndham Gateway Project. I would like to showcase parametric modelling as a medium of communication to create an exciting, eye catching installation that will enrich the municipality. My intended proposal not only inherits innovative ideas but also provide significant impact for local participants to get involved.
LEARNING OUTCOMES In terms of the theory presented in this course, such as discourse, algorithms and parametric modelling not to mention all the new forms – splines, blobs, NURB surfaces etc. – I never heard them before! But with the benefits of studio discussions, lectures, online tutorials and readings, I gradually have an understanding and appreciation of the subject. The introduction of new innovative architectural precedents is in fact useful to further comprehend the underlying theory behind the design. Initially, I was hesitant of taking Architecture Design Studio: Air due to my lack of knowledge in software in general. Even previously, I have learnt Google SketchUp as an introductory to 3D modelling, Rhino together with Grasshopper will be more powerful tool as I have heard people talk of it. As the weeks progress, I started to have more fun with the software since I can create some unfamiliar forms that I have not explored previously – through sketching nor material exploration. I have utilised the online tutorials not only for Grasshopper but also Rhino to learn as much as I can in a short period of time. I believed I am making progress, from a person initially designing in a primitive approach into a beginner level of 3D software. Now my goal is to further experiment with it to probably create a far more complex unique form!
IMAGES ARCHITECTURE AS A DISCOURSE Watercube 1 http://www.dezeen.com/2008/02/06/watercube-by-chris-bosse/ 2 http://www.designbuild-network.com/projects/watercube/watercube10.html Lyon-Saint Exupéry Airport Railway Station 1 http://www.skyscrapercity.com/showthread.php?t=1152061 2 Scanned image in: Michael Levin, ‘A laboratory of ideas, forms and structures’ in Santiago Calatrava: the artwork (Switzerland: Birkhauser – Publisher for Architecture, 2003), p. 202 3 http://www.metmuseum.org/Collections/search-the-collections/210016189?rpp=20&pg=1&rndkey=20130 402&ft=*&where=Spain&who=Santiago+Calatrava&pos=4 4 http://home.fotocommunity.de/frankrother/index.php?id=426531&d=23603091 COMPUTATION IN ARCHITECTURE ICD/ITKE Research Pavilion 1 http://www.archdaily.com/340374/icditke-research-pavilion-university-of-stuttgart-faculty-ofarchitecture-and-urban-planning/ PARAMETRIC MODELLING Dermoid 1 http://www.nzarchitecture.com/page.php?id=32 2 Video caption in: http://www.nzarchitecture.com/blog/index.php/2010/07/15/swarming-dynamicrelaxation-on-a-surface/ Dorobanti Tower 1 http://www.dezeen.com/2009/07/17/dorobanti-tower-by-zaha-hadid-architects/ 2 http://www.archdaily.com/14760/dorobanti-tower-bucharest-zaha-hadid-architects/
NOTES 1 Patrick Schumacher, ‘Introduction: Architecture as Autopoietic System’ in The Autopoiesis of Architecture (Chichester: J. Wiley, 2011), pp. 1. 2 David Kirkland, Nicholas Grimshaw & Partners Ltd, ‘A process-oriented architecture’ in Innovation in architecture (USA: Spon Press, 2004), pp. 41. 3 Alessandra Coppa, ‘Introduction’ in Zaha Hadid Architects, Zaha Hadid (Milano: Electa, 2009), pp. 13. 4 Alan Brookes and Dominique Poole, ‘Introduction’ in Innovation in architecture (USA: Spon Press, 2004), pp. 1. 5 Pia Ednie-Brown, ‘On a fine line: Greg Lynn and the voice of innovation’, Architectural Design, 8 January 2013, p. 45. 6 Greg Lynn, ‘Why Tectonics is Square and Topology is Groovy’, in Fold, Bodies and Blobs: Collected Essays, ed. by Greg Lynn (Bruxelles: La Lettre volée, 1998), pp. 169. 7 Ednie-Brown, op.cit., p. 45. 8 Ibid., p. 44. 9 Ethel Baraona Pohl, Watercube: the book (Barcelona, Spain : Actar, 2008), p. 79. 10 Bernard Chan, ‘Culture, Leisure and Sport’ in New architecture in China (New York ;London: Merrell Publisher Limited, 2005), p. 68. 11 Pohl, op.cit., p. 165. 12 Ibid., p. 202. 13 Ibid., p. 80. 14 Matilda McQuaid, Santiago Calatrava: structure and expression (New York: Museum of Modern Art, 1993) p. 9-10. 15 Michael Levin, ‘A laboratory of ideas, forms and structures’ in Santiago Calatrava: the artwork (Switzerland: Birkhauser – Publisher for Architecture, 2003), p. 7 16 McQuaid, op.cit., p. 13. 17 Levin, op.cit., p. 11. 18 Alexander Tzonis, ‘Bridges for community’ in Santiago Calatrava: the poetics of movement (USA: Universe Publishing, 1999), p. 156. 19 Philip Jodidio, ‘Lyon-Saint Exupéry Airport Railway Station’ in Calatrava (Köln,Germany: Taschen, 2007), p 35. 20 Yehuda Kalay, ‘Introduction’ in Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), p. 2. 21 Brady Peters, ‘Introduction’, Architectural Design, 12 March 2013, p. 10. 22 Ibid. 23 Branko Kolarevic, ‘Introduction’ in Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p. 3-7. 24 Emilie Chalcraft, Researched Pavilion by ICD/ITKE, (2013) <http://www.dezeen.com/2013/03/05/ research-pavilion-by-icd-and-itke/> [accessed on 29 March 2013]. 25 Ibid. 26 Ibid. 27 Rober Woodbury, Elements of Parametric Design (London: Routledge, 2010), p. 11. 28 Ibid., p. 23. 29 Adam Nathaniel Mayer, Style and the pretense of parametric in architecture, (2010) <http://app.lms. unimelb.edu.au/bbcswebdav/pid-3815829-dt-content-rid-11839005_2/courses/ABPL30048_2013_SM1/ ABPL30048_2013_SM1_ImportedContent_20130121032620/Adam%20Nathaniel%20Mayer_%20Style%20 and%20the%20Pretense%20of%20%27Parametric%27%20Architecture.pdf> [accessed on 2 April 2013] 30 Daniel Davis, Dermoid 2010, (2010) <http://www.nzarchitecture.com/page.php?id=32> [accessed on 3 April 2013] 31 Daniel Davis, Swarming & dynamic relaxation on a surface, Programming projects, (2010) < http:// www.nzarchitecture.com/blog/index.php/2010/07/15/swarming-dynamic-relaxation-on-a-surface/> [accessed on 3 April 2013]. 32 Ibid. 33 Patrick Schumacher, ‘ZHA comceptual morphologies within the framework of parametricism’ in Zaha Hadid Architects, Zaha Hadid (Milano: Electa, 2009), p. 21. 34 Zaha Hadid Architects, ‘Parametricism research’ in Zaha Hadid (Milano: Electa, 2009)
DESIGN PROJECT: PUBLIC ART & MOTORWAYS
BIOMIMICRY GROUP 7
JOHN CARLOS RAMOS STUDENT #:392127
KELVIN KAREL STUDENT #:629642
MALCOLM KENNETT STUDENT #:537458
MARIA VENTOSA STUDENT #:615901
Part b
DESIGN APPROACH EXPRESSION OF INTEREST 2
Unlike the Industrial Revolution, the Biomimicry Revolution introduces an era based not on what we can extract from nature, but on what we can learn from her. Janine Benyus
BIOMIMICRY LESSON FROM NATURE Biomimicry in architecture aims to provide innovation through searching for role models taken from nature which have developed over many years to solve built related problem1. In the fields of architecture and biology, the purpose of the investigation is neither to draw borders, make further distinction nor to create declaration that architecture is a living organism rather to clarify the underlying occurrences that overlaps both fields2. In a global scale, the growing population of humans managed to transform the natural landscape to accommodate our needs. The built environment has replaced the former natural environment to evolve into man’s “normal” surroundings. Consequently, we have created an enormous impact on the environment as a whole due to rapid development of the technology and economy as well as growing world’s population3. Therefore biomimetic is used as a tool in architectural design to provide opportunity for innovation. This approach helps to solve current problems that is current in architecture as well as the environments, provides opportunity for exploration in new fields of architecture and design4.
CASE STUDY 1.0
architectural precedence THE MORNING LINE Matthew Ritchie with Aranda/Lasch and Arup AGU
The Morning Line is an experimental project that has innate features of simultaneously generating itself, falling apart and creating a sense of enclosure through its interactive structure. The design explored the interdisciplinary interplay between art, architecture, mathematics, cosmology, music and science which subsequently challenge architectural convention5. This new pavilion contains fractal geometry â&#x20AC;&#x201C; being a â&#x20AC;&#x153;recursive mathematical derivation of form that possesses a self-similar structure at various levels of scale or detail and if the number of recursion is large, results in a dense structure that challenges dimensional qualificationâ&#x20AC;?6.
Plan view of the Morning Line
I have chosen to explore the grasshopper definition of Aranda/Lasch project to experiment with rich intricate patterns incorporating selfgenerating similar shapes that will vary in scale. This can be achieve by taking simple prism as a starting point and evolve the form into a more detailed end result.
Elevation view of the Morning Line
The Morning Line by Aranda/Lasch.
GRASSHOPPER DEFINITION MATRIX
SET 1
SET 2
SET 3
SET 4
SET 5
grasshopper technique INTERPRETATION OF â&#x20AC;&#x153;THE MORNING LINEâ&#x20AC;? Since the algorithm was defined by mathermatical equation being the Phythagoras theorem, the numerical inputs were limited. For example, the segment input of the Polygon component can only take minumum of 3 and maximum of 5. If the number input exceed maximum, the algorithm will not show any resulting outcome. In this exploration, I have tried to enter numberical values as close as the maximum value before the algorithm fails to show outcome. The Set 2, shows the last result to fail when evolving the form into an intricate pattern by increasing the number of the Cluster components.
GRASSHOPPER DEFINITION
CASE STUDY 2.0
architectural precedence DIGITAL ACHITECTURAL LAB (dal) CANOPY Gehry Technologies (Beijing) Co., Ltd, Free Sky Interior Design & Decoration Co., Ltd
The design of the canopy rest in a volume constraint of 3mx3mx6m features dynamic form which has varying curvature across its surface. The hexagon panels were made up of laser-cut plywood that varies in sizes which made up its structure7. We were interested by the project since it presents innovative ideas. It disregarded the typical form of a seating area being planar and static rather creating dynamic and eye catching canopy with bench underneath. Furthermore, we also like the screening effect that the holes in some of the panels as well as the twisting of the other panels along the high-curvature area of the form presents. This will advantageous in creating a gateway that integrates the environment through generating focal points between the voids along the surface.
Structural support of the canopy and the bench
Steel cable mesh attaching the hexagonal panels into the structural support.
DAL Canopyâ&#x20AC;&#x2122;s design process.
Dynamic form of DAL Canopy
Inspiration of nature
NATURE AS AN INSPIRATION BIRDâ&#x20AC;&#x2122;S WINGS Observing the birdâ&#x20AC;&#x2122;s motion during its flight, there is an evident strong dynamic form inherits on its wings. The wings were positioned into curvilinear forms which possess opportunity for form making. These made possible by the structure of the wings - the bones being its framework. In terms of patterning, the positioning of the birds feathers shows variation between different sizes of the feathers and extrusion of same shapes. These feathers are then positioned in an ascending order. The group concepts revolved around the dynamic movement incorporating this into the concept of the development of the Wyndham city. The bird symbolised the overall growing movement of the city. The city being considered as one of the most fast growing municipalities in Australia with the population comprising of young, enthusiastic and well educated demography8.
DAL CANOPY - reverse engineering EXPLORATION 1
CURVE
DIVIDE CURVE
EXPLODE TREE
SHIFT
GEODESIC
ARC
LOFT
PROCESS This particular algorithm experiments with creating surface using series of arc passing through x and y-axis. We incorporated the shift component to be able to control the direction of the curves. However, when referencing brep components into the Surface Box component on the surface, the algorithm is not successful on creating patterns on the surface.
GRASSHOPPER DEFINITION
EXPLORATION 2
CURVE
LOFT
DIVIDE SURFACE
FLATTEN
CULL PATTERN
HEXAGRID
PROCESS After the curves were referenced and lofted, the surface was then divided and flattened. To create variation on the surface, Cull pattern was incorporated in the algorithm to remove every second elements that were on the list of points gathered from the Surface Divide component. We then use Hexagonal component to create the patterns. The end result of the algorithm created an interesting flattened patterns along the surface. Nonetheless, the patterns created a â&#x20AC;&#x153;staircase-likeâ&#x20AC;? structure which projects all the patterns in only one direction rather than following the dynamic form of the surface.
GRASSHOPPER DEFINITION
EXPLORATION 3
CURVE
LOFT
DIVIDE SURFACE
SURFACE BOX (TRANSFORM)
MORPH
REFERENCE THE BREP
PROCESS Initially the curve was referenced and lofted to create the surface. Then this surface was divided. The surface box component was then added to be able to create series of boundary boxes within the lofted surface so when the brep component (hexagon) was referenced this will then becomes its boundary. To have variation on height for the surface boxes (in z-axis), decompose component was added. This algorithm created was able to describe the DAL Canopy in the simplest way. However, the hexagonal shapes were lacking in variation such as the holes on the some facets.
GRASSHOPPER DEFINITION
EXPLORATION 4 CURVE
LOFT
DIVIDE SURFACE
FLATTEN
CULL PATTERN
VORONOI
PROJECT
EVALUATE
AVERAGE
EXTRUDE
CAP
PROCESS This exploration follow the same initial steps from Exploration 2 however incorporated Voronoi components. In creating the pattern, we then drew a square then referenced into curve component that will intersect the Voronoi patterns. We used Region Intersection component to create a square that contain the Voronoi pattern. The planar element therefore was projected to the lofted surface. The baked result displayed problem in the projected pattern since not all the mesh were closed-off. These discontinued lines were evident on all the corners of the mesh. To be able to get all the panels lying flat in relation to the surface, we averaged the points as well as the vectors along the evaluated lofted surface. To create these panels, we extruded the lines created by the mesh from the projected Voronoi patterns and then used cap component. When the end result was baked, the form shows jagged edges since all the discontinued lines excluded and only left with the fluid forms that juxtapose the planar panels. We particularly like this result and considered it to be the most successful algorithm.
GRASSHOPPER DEFINITION
structure exploration
GRASSHOPPER DEFINITION
A1
A2
B1
B2
C1
C2
D1
D2
E1
E2
C1
F2
The algorithm that I have explored for the structure was able to create intersecting arches forming three polysurfaces. The exploration of the initial form resulting series of organic forms that can be reference to birdâ&#x20AC;&#x2122;s talons (Set 1) as well as flower form (Set 2). In terms of fabrication, most of the forms cannot be folded flat in the software since there were overlapping surfaces. The only technique for fabrication was through massing - physically moulding it using plasticine.
MATERIAL EXPLORATION PATTERNING
hexagons on strips
Using the patterns created by the other group members, Malcolm and Kelvin, we explored how to create different structure using hexagon panels.
voronoi patterns
The shadows that Voronoi mesh casted on the ground echoes the feather of the birds.
cull pattern of hexagon in surface
hexagon patterns in surface
structure
massing version 1.0
We experiment with how to fabricate the structure. In 3D software, the form created does not have any thickness. When created on the paper, this will be a sheet of paper. Therefore, use massing to create a similar form that can self support itself.
massing version 2.0
This another version of the plasticine model incorporating the void on the top surface.
sketch algorithm
GRASSHOPPER DEFINITION
STRUCTURE AND PATTERN WAFFLE SCRIPT & HEXAGONS
The sketch model is made up of laser-cut plywood planar elements that were interlocking between in x and y-axis which were the basic elements of the structure.
In terms of the patterns, the hexagonal panels which contain voids that vary in different sizes were the driver of animating the shadows. The variation in patterns that the shadows have created will vary in relation to the positioning of the sun. Overall, we have achieved a design that was breathable as well as integrating the surrounding environment into the experience of the proposed gateway. Our design was able to create different focal points of the surroundings through the voids that the panels have created.
Architecture begins where engineering ends. Walter Gropius
conclusion WYNDHAM GATEWAY PROJECT Our technique satisfies our group concept of creating dynamic and organic form which contrasting the flattened panels that follows the fluid surfaces. DAL Canopy influenced the our sketch design through the creation of non-enclosed space to allow participants to experience the surrounding environment. In relation to nature, we were inspired by the strong dynamic movement that the bird exhibit during its flight. Our aim of the design is to encourage the local participants of Wyndham City to revolutionized their way of life. The design being a â&#x20AC;&#x153;catalyst of changeâ&#x20AC;? . We want the participants to interprent the form as a symbol of moving forward and taking innovative actions on their daily life. We want to showcase our longevity of design by involving the Wyndham City into the architectural discourse through our proposed Gateway. The intention is to encourage the viewer of the gateway to share their experience with their friends, relatives, co-workers or to the general public with the use of social media, series of pictures, or just a simple conversation.
For me, every day is a new thing. I approach each project with a new insecurity, almost like the first project I ever did, and I get the sweats, I go in and start working, I’m not sure where I’m going - if I knew where I was going, I wouldn’t do it. Frank Gehry
LEARNING OUTCOMES PERSONAL PROGRESS My knowledge of grasshopper has improved with the help of our tutor, David and Alex; and also through the discussion within the group. We have translated our vision into a grasshopper definition and also fabricated our sketch model using Waffle script. The collaborated work of our group resulted great algorithmic outcomes. These include understanding sets of grasshopper definitions of “The Morning Line” by Aranda/Lasch as well as “Geen Void” by Lava, reverse engineering DAL Canopy which inspired our design, exploring waffling technique for our structure and lastly discovering different ways to create patterns on the surface. In terms of my own exploration, I have learnt that using lofted surface rather than series of polysurface elements was the easiest way to attach the patterns onto your surface. I have encountered this problem when trying to place the patterns into the surface that was created by Edge Surface component. My approach to this was to reference each individual Edge Surface then morph the patterns into it. Later, our tutor, David provided us another approach to attach the patterns on the surface using Project component. For Indesign software, the typical way of saving your file into later version of any software is to change the file type using “Save As”. This is not the case for Indesign, to be able to save the file into a later version, File export was actually needed. If you use Save As, the file becomes corrupted. This will be really important to take note on producing documents using Indesign.
Groupsâ&#x20AC;&#x2122; new approach in patterning
LEARNING OBJECTIVES APPROACH TO MOVE FORWARD After the Mid-semester presentation, we made some alteration into our design approach. From our sketch algorithm, we will discard the waffle structure as a result will introduce patterns that able to self-support itself. In terms of the patterns, the comments from the critics suggested to further explore the initial Voronoi pattern that one of our team member, Kelvin Karel; have created earlier. Furthermore, they preferred its shadow casting in comparison to our sketch design composing of hexagonal panels since it demonstrate opportunity for experimentation of varying forms. The groupsâ&#x20AC;&#x2122; argument using biomimicry as our design approach needs to have more literal relationship with nature. The sketch design outcome was criticized since it tends to relate more into patterning. Therefore, we need to provide natural precedence that will further justify our design intention. Since we create some alteration in our design technique, we decided to reference butterflies as our inspiration from nature. The wings of the butterflies have innate patterns that we can implement into our exploration. We will also associate the characteristic of Wyndhamâ&#x20AC;&#x2122;s biodiversity into our concept. The following changes in our scheme will be explain in detail in the later part of the journal discussion.
IMAGES GECKOâ&#x20AC;&#x2122;S FOOT 1 http://www.asknature.org/images/uploads/strategy/e105a350d253a9f81c3fe1c3ae5ee34f/48c40cb9089d a0ca1736dad90f78dca1.jpg MORNING LINE 1 http://www.flickr.com/photos/arandalasch/3275850570/in/set-72157612286717885/ 2 http://www.flickr.com/photos/arandalasch/3376593247/in/set-72157612286717885/ 3 http://www.flickr.com/photos/arandalasch/3183000696/in/set-72157612286717885/ DAL Canopy 1 http://www.archdaily.com/165298/dal-canopy-design-digital-architectural-lab/ NATURE AS AN INSPIRATION 1 http://www.wall321.com/thumbnails/detail/20120229/wings%20birds%20eagles%20artwork%20 2560x1600%20wallpaper_www.wall321.com_28.jpg
NOTES 1 Petra Gruber, ‘Introduction’ in Biomimetics in Architecture: Architecture of life and buildings, (Germany, Springer Wien New York), p. 8. 2 Ibid., p. 7. 3 Ibid., p. 8. 4 Ibid., p. 7. 5 Leeji Choi, The Morning Line by Matthew Ritchie with Aranda/Lasch and Arup, (2009) < http://www. designboom.com/art/the-morning-line-by-matthew-ritchie-with-aranda-lasch-and-arup/> [accessed on 25 April 2013]. 6 James Harris, ‘The journey form mathematical monsters to the key to nature’s structure’ in Fractal Architecture: Organic design philosophy in theory and practice, (Albuquerque: University of New Mexico Press, 2012), p. 3. 7 ArchDaily, DAL Canopy Design/ Digital Architectural Lab, (2011) < http://www.archdaily.com/165298/dalcanopy-design-digital-architectural-lab/> [accessed on 19 April 2013] 8 Wyndham City Council, Reason to choose Wyndham, < http://www.wyndham.vic.gov.au/business/ investing/reasons> [accessed on 3 May 2013]
Part C
PROJECT PROPOSAL
GRASSHOPPER ALGORITHMS LOFTING & PIPES
FINAL FORM
PROCESS This particular algorithm transforms the usual smooth surface into series of pipes. I have explored placing the pipes horizontally and vertically along itâ&#x20AC;&#x2122;s form creating a weaving effect on the final shape. Take note that the more the pipes the more possibility of the computer to freeze.
GRASSHOPPER DEFINITION
LOFTING & MESH
FINAL FORM
PROCESS This algorithm in comparison to the previous exploration incorporated mesh on the surface. I have modified the height of the cones using morph box surface to visually generate an interesting effect. The final form exhibits a strong personality due to the cones and their formation.
GRASSHOPPER DEFINITION
ROSETTE
FINAL FORM
PROCESS This algorithm able to reproduce similar pattern within the radial axis by referencing it using brep component. The outcomes created were limited.
GRASSHOPPER DEFINITION
ROSETTE AND “THE MORNING LINE” DEFINITION
FINAL FORM
PROCESS To extend the shapes created using the grasshopper definition of “The Morning Line”, I have referenced the baked form into the rosette using brep components. The end result created series of fractal geometry.
GRASSHOPPER DEFINITION