Johnny zijian wang 637861 part b studio air by johnnyw1

STUDIO AIR 2014, SEMESTER 2, Tutorial No.1 - Phil Johnny Wang 637861

ABOUT ME

My name is Johnny, and i am currently in my second year at the university of Melbourne. I have always had a strong passion in the artistic and creative fields. I particularly enjoy the process of creating something from scratch, and watch it develop into a final product that i can claim as my own. I was born into a creative family with my grandfather being an artist, and my father being an architect and urban planner. Ever since i was young i have been a keen drawer, which later developed into my obsesson with design.

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Aside from architecture, i spend most of my time writing music and playing sports. Basketball and music are my other two passions that i am currently pursuing while being at university. Through these other activities that i participate in, i have learnt the importance of teamwork and iâ&#x20AC;&#x2122;m always willing to learn from others.

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PART A CONCEPTURALISATION 4

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A. PRECEDENT STUDY

A1: DESIGN FUTURING LAGI COMPETITION REVIEW

Precedent 1.0 - City Trace Generator

Figure No.1 City Tracer Generator

Figure No.2 City Tracer Generator

Artist Team: Michal Gdak and Ewelina Gorczynska Artist Location: Wroclaw, Poland Energy Technologies: Solar Updraft Annual Capacity: 1000 MWh Designed for Site #2 in Abu Dhabi, between Saadiyat Island and Yas Island. The City Trace Generator design aspires to reflect the idea of city evolution in the form of an art installation piece. The design is inspired by the ever-repeating process that a city undertakes from the point of birth, to the dawn of collapse. Therefore, the Polish designers developed the City Trace Generator that creates footprints in the form of sand skyscrapers with its sculpted interior as it drifts between Saadiyat Island and Yas Island.1 The design is particularly clever in its metaphorical expressions. The circular form and movements as well as the

generator’s ability to be sustainable accurately captures the lives of cities as they rise and fall one after another, naturally and gracefully. The designers have also considered the natural environments of the deserts carefully and used it to their advantage. The element of sand is not only used as the material that forms the city traces, but is also adapted as the generator’s source of energy. During the day the generator is powered by solar energy, while at night, the ring uses the heat stored within the sand and powers the turbine until sunrise, before repeating the process over and over again. Therefore, with this “solar chimney system”1, the City Trace Generator is able to move across 1.5km of sand with the support of only sunlight and two strips of glass that lay next to the ring as heat storing instruments. This design is a perfect example of using the natural environemtns to the designers’ advantage.

Gdak & Gorczynska, City Trace Generator (2010) Figure No.3 City Tracer Generator

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Precedent 2.0 - The Living Ribbon Artist Team: Brett MacIntyre and Adam Pelissero Artist Location: Halifax, Canada Energy Technologies: photovoltaic thin film and fog harvesting nets Annual Capacity: 1,500 MWh Designed for Site #2 in Abu Dhabi, between Saadiyat Island and Yas Island. The design of the Living Ribbon is also inspired by the natural environments of the Dhubi Desert. Native flora and fauna rely on the delicate balance of moisture and nutrients; however the water salinity of the area is often disrupted, causing native species to slowly disappear. Therefore, the design team proposed the idea of the Living Ribbon. A lightweight structure that stretch over 1.6km over the coastal boundary, harvesting electrical energy from sunlight as well as transporting fresh water collected from rain and heavy fogs back into the coastal habitat. 2 With this multi purpose ribbon structure, the salinity level of the coast may hopefully be restored along with the density of the native vegetation. The form of the ribbon is also visually fitting to its environments. The struture traces the curves of the coastal lines whilst the mesh surfaces on the ribbon rise and fall irregularly; causing the structure to seem almost organic as it appears to imitate the wind-driven movement of the sandy desert. However, the materiality of the structure allows it to standout from a distance in the desert. Furthermore, my favourite part of the design is that even though it appears alienated by the natural desert environment, it is still able to be viewed in harmony with its surroundings. The unique form that is used to create ths environemental friendly ribbon is particularly inspiring to me as i aspire to construct varies forms of my own in my future studies.

Figure No.4 The livng Ribbon

Figure No.5 The living Ribbon

MacIntyre & Pelissero, The Living Ribbon (2010)

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A.1 DESIGN FUTURING REFERENCES

TEXT

IMAGES

Gdak & Gorczynska, City Trace Generator (2010), Land Art Generator initiative, http://landartgenerator.org/ LAGI2010/eim100/, accessed July 20th 2014

MacIntyre & Pelissero, The Living Ribbon (2010), Land Art Generator Initiative, http://landartgenerator.org/ LAGI2010/apbr64/, accessed July 20th 2014

A.2 DESIGN COMPUTATION 10

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A2: Design Computation “Design is a process we engage in when the current situation is different from some desired situation, and when the actions needed to transform the former into the latter are not immediately obvious.”1 The nature of a design process is not static. It is a process that is taken by one who creates something that resolute a problem or improves the convenience of the individual. Traditionally, buildings were not designed. They were built. The invention of ancient drafting tools allowed designers to describe form and structure without physically constructing the design as well as decreasing the consequences in the cases of errors.Similarly, the advancing digital technologies is increasing simulation capabilities. Programs like AutoCAD transformed pen and paper to the computer screen. Designers no longer need to worry about the percision of hand drawings and calculations as the program is able to do it all in the matter of a click. Furthermore, The development of computational tools are able to “create more responsive designs, allowing architects to explore new design options and to analyse architectural decisions during the design process.” 2 The nature of this new generation of drafting tools has revolutionized the way architects generate design ideas, giving them the freedom to experiment with a much larger range of aesthetic and structural opportunities.

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Figure No.1 Modern Skyscraper Proposal

1. Rivka & Oxman (2014) 2. Peters & Bradley (2013) 3. Danny Karas (2014)

Forms that are previously impossible to draft have been made possible with digital scripting and advanced modeling tools. This has also introduced a whole new aspect to design and construction, as computerization tools have enabled designers the ability to virtually create complicated geometries beyond imaginations.

Precedent 3.0 - Modern Skyscraper The skyscraper proposal designed by SCI-Arc displays expressive forms that are impossible to be described with pre-computerisation methods. The highlight of the skyscraper design is no other than the distorted layer of outer skin that is created through 3D simulation of gravity. The twisting form is generated through digitally capturing the motion of twisting a piece of flexi-wood and transferring the gathered data into a modeling program. This project is “less about the result and more about the statement of digital production”. 3 It is a statement of the “speed and quality that digital design can create and how this revolution of speed can give architects a greater chance to impact that project outside of form making.” 3 Although the skyscraper proposal is not currently possible to be placed under construction, it displays the impact that computation can possibly have on the design industry.

Figure No.2 Modern Skyscraper Proposal

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Figure No.3 - 3D printing

Precedent 4.0 - Production Furthermore, “innovative technologies have become a driving force in the formulation of theories as well as producing a new wave of tectonic and material creativity.”4

Figure No.4 - technique development

Virtual designs can now be brought to reality with the uses of laser cutting and 3D printing techniques. The Southern California Institude of Architecture uses computation to experiment with these structures’ formations as well as analysing material behaviours. The Anistropic Formation project is classified as a protoarchitectural project that experiments with robotics and vector based 3D printing. 5 This project is a great example of the current generation of architects’ medium of creating research-based design, as it largely revolves around the scripting of algorithms. 6

Figure No.6 - F2

The project on the right is designed and constructed by students of UTSA College of Architecture. The form, grid and calculations are all generated and calculated digintally.7 Without computation and computerisation, the project would not have been completed within the short period of 3 weeks. Figure No.5 - materialization

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4. 6. Rivka & Oxman (2014) 5. Cortez, Lu, Tomara & Troufanov (2014) 7. Kudless & McClellan (2014)

Figure No.7 - F2

Figure No.8 - F2

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Figure No.9 - City of Dreams hotel

Precedent 5.0 - City of Dreams Hotel Although digital technologies are often used in experimental and competition designs where the construction aspect of the design doesn’t neccessarily need to be highly considered, there are still many examples of successful comptemorary designs that incorporated computation technologies. This 40 floor hotel building designed by Zaha Hadid Architects displays an exposed exoskeleton frame that reinforces the dynamism of the design. This external frame “optimizes the interior layouts and envelops the building” 8. The division of the exterior steel grid as well as the creation of the interior panels were achieved through computation, contributing to both the aesthetics and the structural aspects of the tower. 9 Although the summary did not specifically mention the program used to achieve the designs, the panel and fold tools in rhino are able to calculate and produce forms of that nature. Overall, Computerisation has allowed designers to design quicker, and express their ideas easier; while computation opened up a new area of imagination. The development of digital technologies has definitely changed the ways architects approach designs and re-defined their design processes.

Figure No.10 - City of Dreams hotel

8. 9. Zaha Hadid Architects (2014) 16

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A.2 DESIGN COMPUTATION REFERENCES

TEXT

IMAGES

1. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

1.http://www.suckerpunchdaily.com/2014/05/02/ sofi/#more-36337, accessed 18th August 2014

2. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 3. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 4. Danny Karas (2014) ‘Skyscraper Proposal’, SuckerPunch Daily,http://www.suckerpunchdaily.com/2014/05/02/ sofi/#more-36337, accessed 18th August 2014

2.http://www.suckerpunchdaily.com/2014/03/24/ anisotropic-formations/#more-35611, accessed 18th August 2014 3.Http://www.suckerpunchdaily.com/2014/06/27/f²-2/, accessed 18th August 2014 4.http://www.suckerpunchdaily.com/2014/04/10/city-ofdreams-hotel-tower/#more-35932, accessed 18th August 2014

5. Cortez, Lu, Tomara, Troufanov, ‘Anisotropic Formation project’, SuckerPunch Daily, http://www.suckerpunchdaily. com/2014/03/24/anisotropic-formations/#more-35611, accessed 18th August 2014 6. Kudless & McClellan, ‘f2’, SuckerPunch Daily, www. suckerpunchdaily.com/2014/06/27/f²-2/, accessed 18th August 2014 7. Zaha Hadid Architects, “City of Dreams Hotel Tower”, SuckerPunch Daily, http://www. suckerpunchdaily.com/2014/04/10/city-of-dreams-hoteltower/#more-35932, accessed 18th August 2014

A.3 COMPOSITION TO GENERATION 18

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A3: Composition to Generation

As digital technology rapidly develops, new mediums of design are introduced to the architecture industry. The generation of soft pencils and yellow trace paper is over, as the era of computational design begins. Algorithmic thinking and parametric designing are two of the main attributes many of the current generation architects commonly have. Ever since computers have been introduced to architects in the 1980s, it became a crucial elemtn in drafting precise plans as well as generating complicated structural systems.1 While computers continue to evolve, modern architecture appears to increase in its complexity. Many of the current experimental designs as well as existing architecture around the world are often created with the tool of parametric modelling. Parametric modelling is more than just a drafting tool. Unlike other types of digital modelling, parametric Parametric design software is able to detect how “changing any parameter of a structure will affect other physical aspects”. 2 Therefore it is not only able to depict a building and its relevant surroundings in 3-D, its scripted algorithms are able to revise a model instantly. It is used “not just to make buildings more visually compelling, but to precisely tune nearly every aspect of their performance, from acoustic to energy efficiency.” 3

In other words, architects are able to create formulas that acts as guidelines which calculate their alterations automatically. This attribute of parametric design not only revolutionizes the way architects approach a design, but also saves them the time in re-adjusting their trials and correcting their mistakes. Potentially, because making design alterations has never been easier before, architects are able to revise their designs more conviniently leading to a better design outcome. Furthermore, architect and vice president of Autodesk believes “parametric technology will help make new buildings more environmentally sustainable.” He also claims that it could reshape urban planning as programs will become powerful enough to model and alter the design of an entire neighbourhood with ease.4 Overall, computation has redefined architecture, opening doors of opportunities never previously explored by designers. Although technology is still at its growing stage, parametric designs done by the worlds most forward thinkers have displayed the potential advances that computation may provide us

1. 2. 4. MIT Technology Review (2013) 3. Rybczynski, Witold (2013)

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Precedent 1.0 - Shang hai Tower

Gensler’s Shang hai tower, which will soon stand as the second tallest building in the world once construction completes is a prime example of how parametric technology has benefitted architecture. At 630 meters in height, every detail of the skyscraper needs to be considered, and every aspect of design needs to serve a purpose beyond aesthetics. Although the twisting curved form demonstrates a design expression, “by plugging geometry into a modeling tool known as Grasshopper, the desingers were able to tweak the shape to minimize the force of winds on the facade.” 5 Designer Ko explains that it would be tedious for architects to calculate the degrees of rotation manually. Therefore, they used rotation as one of the parameters which helped them run through various iterations to reach the final situation. 6 In Ko’s description of the design process, it is evident that computation served as a main catalyst in creating this piece of architecture. Parametric technology allowed architects to conviniently alter the software inputs, in the process of developing the raw initial concept of a twisting tower. The element of computation not only contributed aesthetically, but also structurally. From the algorithmic division of the tower’s facade grid to its self sustainable system, every aspect of the design involved the uses of digital technology. Therefore, there is no denying that computation and computerisation have reshaped the society’s perception of architecture.

5. 6. MIT Technology Review (2013)

Figure No.1 - Shang Hai Tower 22

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Figure No.2 - Shang Hai Tower CONCEPTUALISATION 23

Figure No.3 - Shang Hai Tower 24

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Figure No.4 - Bird Nest Stadium

Precedent 2.0 - Bird Nest Stadium While appearing to be visually contrasting the Shang hai tower, this phenomenal Chinese architecture also displays aspects of the generative architecture approach. The most unique element of the Bird Nest is its exterior shell that wraps around the core of the stadium. Polish architect Jaroslaw Ceborski stated that “It’s quite easy to distinguish something designed using parameters and algorithms from the rest.” 7 If so, the Bird Nest would definitely be one of the buildings that strikes to be designed parametrically. While the surface of the structure appears straight forward, the geometry is complex. Calculations were so numerous and complicated that they were impossible to be solved manually. 8 7. Rybczynski, Witold (2013) 8. 9. 10. Design Build Network (2014)

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Therefore, “software was needed to make sure that the web of twisting steel sections fitted together, as they have to twist and bend to follow the surface accurately.” 8 Although the “nest” may appear somewhat random, it contains 36km of unwrapped steel that forms the structure which was designed to resemble yin yang “Chinese philosophy of balance and harmony.” 9 Furthermore, because China is highly vulnerable of earthquakes, the outter skeleton is seperated from the seating bowl to enhence earthquake resistance. All calculations done regarding this area were done digitally also.10 Overall, The Bird Nest further proves that the development of parametric technology is enabling architects with tools that allow them to be more expressive than they ever could before. Figure No.5 - Bird Nest Stadium

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Parametricism & Disadvantages of computation Patrick Schumacher, a named partner at Zaha Hadid Architects(ZHA) promoted what he called “parametricism”.11 It introduces a new type of aesthetic. An aesthetic only archievable through algorithmic thinking and parametric technologies. Schumacher describes “parametricism” as a “deliberate response to an increasingly heterogeneous society.”12 Therefore, with the intention of creating “complex, polycentric urban fields”, Schumacher advices in the defining manifesto he wrote for the 2008 VAB, “Avoid repetition, avoid straight lines, avoid right angles, avoid corners, avoid simple repetition of elements...”13 This style has been developing ever since the the digital animation techniques in mid 1990s, and is now considered to “succeed modernism as a new long wave of systematic innovation.”14

Figure No.6 - Parametric Sketch

However, although parametric technologies are commonly recognised as the next step in architecture, Christopher Alexander, a well established architect, theorist, teacher and designer is concerned about the current generations’ obsession with computing. He claims that there has not yet been a problem that is so complex that we must use a computer. He feels that the use of computers in problem solving will “distort one’s view of the problem.”15 He believes that even though virtual technologies are able to solve problems, it only allows architects to consider the aspects of the problem that are able to be encoded, which in many cases are the least important.16 Overall, whether parametric technologies is revolutionary or a dead end, its potential to benefit the human society is undeniable.

Figure No.7 - Parametric fabric study

11. 12. 13. 15. 16. Rybczynski, Witold (2013) 14. Schumacher (2008)

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A.3 COMPOSITION TO GENERATION REFERENCES

TEXT

IMAGES

1. “Advanced Architecture Software Could Make Buildings More Energy-Efficient and Interesting | MIT Technology Review.” Technologyreview.com, July 31, 2013. http://www.technologyreview.com/ review/517596/new-forms-that-function-better/.

1 . h t t p s : / / w w w. f l i c k r. c o m / p h o t o s / quixoticguide/6881264310/, accessed 20th August 2014

2. Rybczynski, Witold. “Parametric Design: What’s Gotten Lost Amid the Algorithms - Architect Magazine.” Architectmagazine.com, July 11, 2013. http://www. architectmagazine.com/design/parametric-designlost-amid-the-algorithms.aspx 3. Designbuild Network, “Beijing National Stadium ‘The Bird Nest’, China”, http://www.designbuild-network. com/projects/national_stadium/, accessed 20th August 2014 4. Schumacher, Patrick, “Parametricism - A New Global Style for Architecture and Urban Design.”, Digital Cities, Vol 79, No.4, July/August 2009, http:// www.patrikschumacher.com/Texts/Parametricism%20 -% 2 0 A% 2 0 N e w % 2 0 G l o b a l % 2 0 S t y l e% 2 0 fo r % 2 0 A rc h i te c t u re%2 0 a n d %2 0 U r b a n%2 0 D e s i g n . h t m l , accessed 20th August 2014

2.http://travelinnate.com/wp-content/uploads/2014/06/ Beijing-National-Stadium-2.jpeg, accessed 20th August 2014 3.http://www.designbuild-network.com/projects/national_ stadium/, accessed 20th August 2014 4.http://www.ctbuh.org/News/GlobalTallNews/tabid/4810/ Article/648/language/en-US/view.aspx#!, accessed 20th August 2014 5 . h t t p : / / w w w. s k y s c r a p e r c i t y. c o m / s h o w t h r e a d . php?t=391698&page=314, accessed 20th August 2014 6 . h t t p : / / w w w. s k y s c r a p e r c i t y. c o m / s h o w t h r e a d . php?t=391698&page=296, accessed 20th August 2014 7 . h t t p : / / w w w . p a t r i k s c h u m a c h e r. c o m / Te x t s / Parametricism%20-%20A%20New%20Global%20 Style%20for%20Architecture%20and%20Urban%20 Design.html, accessed 20th August 2014 8.http://nwahart.blogspot.com.au/, accessed 20th August 2014

PART A - CONCLUSION 30

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CONCLUSION

LEARNING OUTCOME

The advancement of digital technology has reshaped the architectural industry. While computerization has revolutionized the design process, the computation phenomenon has re-defined architectsâ&#x20AC;&#x2122; approaches in designing a building.

My experience so far in Studio Air has been eye opening. I feel like i have consumed a great deal of information in the the short few weeks time. The study parametric design is definitely one of my favourite parts of the course so far. I can see how learning programs such as Grasshopper and Rhino 3D could benefit me in the future. Through the few short exercises i have completed in tutorials and at home, i have learnt quite alot about the program, and i am excited to get into more practical side of this studio.

Parametric modelling not only allowed architects to generate and revise their design ideas with ease, but also guided them to realise geometric designs that are often far more complex than their imaginations. Overall, although computation opened doors of opportunities for architects to explore, the key to successful designs still remains as the architect.

However, even though i have kept up with the pace of the class, i still feel some what uncomfortable with the format of Grasshopper. The amount of information and its display format is quite overwhelming, but hopefully i can overcome the difficulties through more practice.

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I have really enjoyed the process of generating forms in grasshopper. The flexible nature of the program has allowed me to experiment freely within the program. Iâ&#x20AC;&#x2122;m quite surprised by how diverse the outcomes could be when minor adjustments were made in Rhino. I have gained a basic understanding of the Grasshopper program through the first 3 weeks of practice. Although i am not fluent in designing in Grasshopper, what i have been able to create so far has really surprised me. With only a few plugins, algorithms of complicated forms were created and applied. In the 3rd weekâ&#x20AC;&#x2122;s task of altering the patterned facade, i added a third line in Rhino as one of the initial line inputs, and the entire design changed. After making a few experiments, i have decided to place img.3 in the journal as i demonstrates the most fluidity. In conclusion, i believe with the right amount of practice, Grasshopper could really be a benefitial aspect for me in the future.

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PART B DESIGN APPROACH 36

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B.1 RESEARCH FIELD CONCEPTUALISATION 37

Structurally, the Banq restaurant’s interior is made by two layers of elements. The first, being the structural layer consists of the load bearing columns, the interior walls and the main structural ribs running perpendicular to the lattice. The plywood interior then suspends off the steel support structure on the top layer. Each rib of the undulated ceiling is made from “unique pieces of three-quarter-inch birch plywood adhered together.”1 Not one piece of plywood is repeated after the other.

BANQ / OFFICE dA I chose the Banq restaurant as my case study 1.0 reference because i was really drawn to the organic forms built in the interior of the structure. The suspended timber structure covers the columns and storage spaces, creating an elegant

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Figure No.1 - Banq restaurant interior

illusion that the ceiling is dripping off onto the floor. Furthermore, i also like how the transparency of the form changes as the users move through the structure, making every spot inside the restaurant a unique location.

Visually, i think the interior of the restaurant is very modern and creative, however, i do not think the design element has been pushed to its limits. With the support structure hidden behind the plywood screen, it opens up great possibilities of interesting designs because the users on the inside would not be viewing the chaotic structural aspect of the building, but instead, experiencing the unique visual illusion that the material system offers. I am also considering reversing the precedent’s example, by placing the strucutral colums on the inside and the cover on the outside to alter the typography of the site. Even though i am only getting familar with the material system, i can already picture the great possibilities that the system may offer.

1 Banq/office dA, archidaily, http://www.archdaily.com/42581/ banq-office-da/, last edited 03 dec 2009 fig 1,2 Banq/office dA, archidaily, http://www.archdaily.com/42581/banqoffice-da/, last edited 03 dec 2009

Figure No.2 - Banq restaurant structure

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CASE STUDY 1.0 Based on the Grasshopper definition of Banq restaurant in the case studies, i was able to create these iterations that have explored a range of design possibilities. I began the process by testing the first definition attatched in the Grasshopper file. After testing the definition on a few simple surfaces, with straight guide curves, i altered the

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direction of the guide curves to generate some of the more random outcomes as seen in the second row from the left side. After exploring the rather limited first definition, i moved on to the second definition that generated forms very similar to the forms seen in the Banq Restaurant. The definition uses the x axis as the ceiling level, and the horizontal waffle slides are projected downwards .

I was able to adjust the angle in which the slides would project towards as well as the length of the projections. After testing the definition on a flat surface, i began altering the surface, making it curvey , and that resulted in a few interesting outcomes also as seen in the last three rows of iterations. Additionally, as i baked the definition, it provided me with a curve that outlines the bottom side of the projected form. (row 6,7)

I then began using these curved surfaces created in the second definition in the first definition as the base curve which allowed me to generate more possible designs. The definition however, is very limited because it could only use 4 edged surfaces as reference, and by the end of the experimentation process, i felt like i have explored all possibilities with the two definitions.

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CASE STUDY 1.0 - SUCCESSFUL OUTCOMES After experimenting with the Banq restaurant based Grasshopper definition, was able to come up with these four designs that i thought may represent some design possibities i may have for the brief. The two iterations on the left side showed that creating the waffle form is able to allow me to alter the space above as well as below the ground as the curves mirror each other.

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The two forms on the right page only consists curves underneath the surface applied. From these two designs, i immediately thought on creating a contrasting structure that appears rigid and blocky on the outside, however, as the users enter the space, they are welcomed by a fluid, organic interior that contrasts against the exterior.

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CASE STUDY 2.0

Figure No.3 - Metropol Parasol

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CASE STUDY 2.0

Project introduction

The Metrapol Parasol - the biggest wooden structure in the world located at La Encarnacion Square in Seville, Spain. The mushroom like structure is designed by German architect Jurgen Mayer-Hermann, and has the impressive dimensions of 150 metres by 70 metres with an approximate height of 26 metres.1 The construction began in 2005 and was estimated to be completed in 2007 with the estimated cost of 50 million euros. However, because of engineering issues, the construction process of the Parasol had to be delayed until the begining of 2009 when a feasible design using glue as reinforcement surfaced and allowed the construction process to commence. 2 The waffling shape is not created by the traditional way of slotting pieces of wood into one another, however, it is built with 8,000 smaller timber elements that are pieced together. Although figure no.4 displayed joints that appear as steel bolts, the structure is not bolted together, but it is rather connected using steel rods and glue. 3 With that being said, the Metropol Parasol is not only biggest wooden structure in the world, but

1 “Leyendas de Sevilla: Metropol Parasol y Antiquarium”. Leyendasdesevilla.blogspot.com. 2011-07-19.

also the biggest structure that was built using glue as reinforcement. With a waffling structure at such a large scale being built successfully, it allowed me to think more outside the box in terms of scale of construction. Because the glue is able to sustain the brutal heat of a Spanish summer, it is for sure able to endure the weather in Finland, where the LAGI design competition is based in. The Parasol also uses its waffle strcuture to generate interesting shadows, on the interior spaces as well as underneath the mushroom shell. This shadow factor has led me to consider incorporating light and shadow in my waffling design. By altering the density of the waffle grid in areas, it would hopefully dictate the amount of light received in certain areas, hinting the users how to move around the space, and how to use the space during different times of the days and different weather conditions.

Figure No.4 - Metropol Paraso

2 Marmol, Carlos. “Un proyecto imposible” diariodesevilla.es February 2, 2010. Accessed September 30, 2012 3 The Metropol Parasol - The largest wooden structure in the worrld, http://www.kuriositas.com/2011/05/metropol-parasol-largest-wooden. ahtml, 7th May 2011

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CASE STUDY 2.0

Reverse Engineering

In order to reverse engineer the Metropol Parasol, i had to first compose a Grasshopper script that creates the waffle form. I referred to the case study 2.0 definitions provided on the LMS however none of the definitions were able to create the types of waffling system that was appropriate for the Parasol. Therefore i had to create my own definition in Grasshopper. I first found the bounding box of the brep object and then divided the x and y axis before generating lofted lines through them. In my definition, i was able to alter the amount of slices i wanted on the x and y axis as well as the width of each piece.

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The 3 step diagram on the right page demonstrates the 3 steps i took in creating a basic waffle structure. i lofted curves into solids and then used the solid as reference in my definition which generated the waffled form. Similarly, in building the Metrapol Parasol, i lofted curves into solids that immulate the outline form of the structure, and then i applied the waffle, and added some other built details onto the structure to make it seem more identifiable as the Parasol.

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CASE STUDY 2.0 Using my own waffling definition, i experimented with different types of solides and recorded the results shown below. Overall, the waffling script was quite flexible as it is able to slice through all types of closed solids i could imagine. Just like in Case study 1.0, i began the experiments with forms easier to control, and then moved onto more complicated forms. After experimenting with basic solids, i began curving and lofting surfaces

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to create more complicated solids. Additionally, i attempted to combine the results drawn from Case Study 1.0 into case study 2.0 as i used curves generated with the Banq restaurant as extruding references before applying the waffling definition. Furthermore, i also draped over surfaces to only choose the most interesting sections of the surface to extrude and waffle, and that had allowed me to create the last three rows of the iterations.

Through the 50 iterations, i found that i was able to surpass the level of complexity shown in Case Study 1.0 and produce forms that are more controlled by me rather than randomly generated based on a 4 edged surface like it was in case study no.1

either draping the surface directly over one section, or over a series of sections. These tunnel structures are able to provide shelter, direct the users through the site, as well as becoming a land mark attraction point.

The 4 iterations in the last row are my favourite 4 outcomes. And out of those, i especially liked the tunnel structure that i was able to create through

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Outcome No.1 This is the outcome that was developed from my favourite iteration out of the 50 i produced. The diagram on the bottom shows the proccess that i went through in creating the sectioned waffle structure. Although it is quite simple, i really like the effects the waffling form is able to have on a design. It not only adds complexity to the form, but also makes the structure buildable, as seem in the construction process of the Metropol Parasol. I like how ever segment of the tunnel is able to give the users a different experience, as it changes forms, height and density in its waffling grids, altering the light and shadows. In terms of the LAGI design brief, considering there are so many timber panels used in the structure, i considered placing solar panels in between the timber waffling grids to absorb sunlight as well as altering the amout of light going through the waffle.

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During the day, the structure will be lit up by sunlight, then at night, the structure can be lit by lights that are placed within the waffling grids using the energy absorbed by the solar panels during the day. Finally, my favourite aspect of the design is the interior space as shown in the bottom image on the right page. The space appears grotesque, dark and twisted. The height and depth of the interior somewhat reminds me of the interior of cathedrals. Therefore i want to take on the element of mass and use it to enhence the usersâ&#x20AC;&#x2122; experience Just like the Banq Restaurant, viewers would receive different views towards the outside from different parts inside the structure. Light would also come in from different angles during times of the day, altering the ways the users would use the structure.

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Presentation Feedback I have not had the most successful presentation with my previous design because it did not show a great depth of complexity in structure and function. I completely agree with the tutorsâ&#x20AC;&#x2122; feedback, and i did lack a great depth of complexity. Therefore, i have decided to revise my design, and further develop it before beginning part C. I was recommended to experiment with other material systems, and carry on my concept of cathedral designs and the idea of contrasting the exterior with the interior. I will do so by doing further precedent research based on both structure and function and hopefully produce a design that applies better to the requirements of the brief.

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PRECEDENCE STUDY

Figure No.5 -Cathedral of Christ the Light interior

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Cathedral of Christ the Light As i began considering creating a chaple on the site instead of a pavilion type structure after the presentation feedback, i began looking at cathedrals and what makes them unique. Light is definitely one of the most crucial elements in a successful cathedral design. As i was originally interested using light and shadow in my previous pavillion design, it seems almost perfect that i make the shift to designing a chapel. The Cathedral of Christ the Light uses light as its main element of attraction, as it it has window openings all around the circular building structure. The Cathedral is also structurally sound as it is located in San Francisco where the building may have to endure frequent earthquake movements. The building was designed to be flexible and light, using glulam wood members to achieve the desired flexibility. Steel was also used in parts to create custom joints and connections that enhence the durability of the structure.1 (fig 5,6)

In comparison to the structural elements of Banq Restaurant, the Cathedral of Christ the Lightâ&#x20AC;&#x2122;s structural grid appears lighter, more flexible, and is shown to be able to suspend timber structures that are similar to my designs. Therefore, i would definitely try and experiment with the hour glass shaped, alternating suspension system after i complete refinding my Part B design.

Figure No.5 -Cathedral of Christ the Light interior structure

1, fig 5,6 Study of Cathedral of Christ the Light, nai y. wang, http://www. nywong.com/Work/tech_som.html, last edited 2012, viewed 25th Sept

Figure No.5 -Cathedral joints 58

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Outcome No.2 After deciding on the fact that i was going to shift my design to a Chapel, i dedicated my time to create a modern interior space with the incorporation of classic cathedral characteristics. The forms that i have created on the right are results of stretching and editing a surface and draping it in half, before applying the waffle definition and offsetting the waffle grids. The two sides of the structure are mirrored, creating a sense of balance in the chapel design. Also, by offsetting the horizontal members of the waffle, it allows the vertical members to become more visible to the users in the interior, giving them a greater sense of direction as they travel through the structure.

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Outcome No.2 After i created the interior waffling form on the previous page, i then decided to create an exterior space to the structure also. Refering back to Case study 1.0, i considerred contrasting the exterior to the interior space as the exterior appears rigid while the interior surprises the users as being fluid and organic. However, i still wanted light to pass through the walls of the cathedral. Instead of using huge windows to attract light, i created a gill like facade design that can be altered by the curvature of the exterior wall. The facade design is also very controlled as i can project light through any direction at any location. Although i experimented with the first three designs below, i decided on the gill facade design in the end.

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Outcome No.2 After applying the East and West Facades, i then created the entrance and the back wall of the chapel. The bottom left rendering shows the entrance of the chapel (the back wall is identical). The cross shape highlights the religious aspect of the building, however, does it is subtle and does not appear as the classic cathedrals would. Through the gaps of the cross, the users on the outside would see the timber waffling on the inside, attracting them to visit and explore the structure. Additionally, the top half of the waffling is exposed to reference the nave roofs and pinnacles used in traditional cathedrals while the interior forms of the waffle display a modern take on the interior vaulting system. Unlike traditional cathedrals, the interior space of this chapel will not require columns as i want it to be suspended from the top and the sides through a steel grid.

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The main section of the chapel is going to be the main hall, where services will take part. This section is the area with the highest ceiling and the largest area of skylight, allowing the most amount of light to enter the space. Furthermore, at the back wall behind the waffling grid, the people attending the service will see a huge cross shaped opening towards the river that is semi hidden behind the grid, creating another interesting design element. Finally, the use of timber will also enhence the acoustics of the chapel, saving energy on the sound systems, and allowing the choir and music played to sound more vibrant and project further.

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The middl hallway reduces the depth of the ceiling, making the users re-experience the height and mass they experienced at the entrance as they enter the main hall.

The front area of the chapel is designed to be a gathering space for people as they first enter the building. The height of the building and the organic effects that the waffling timber has can hopefully surprise the users as it contrasts greatly against the exterior space. On the roof of the first section, there will also be solar panel placed on areas that are not extruded by the waffling grid. The panels are used to absorb sunlight during the day, so that lights placed within the waffle grid can be lit during the night.

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INTERIOR SPACE These renderings are showing the interior space of the structure. The top left render shows the view as users first enter the structure, and the top right render shows the view as the users come through the middle hall, and into the main chapel space. I feel like the design has achieved a good outcome on a modern take of gothic architecture.

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PLACEMENT In concluding Part B, i would like to discuss the placement of the chapel. The idea is quite straight forward, i would like the structure to act as a tunnel that is transparent through the center grid. Therefore the design must be placed in the center of the land provided, facing directly out towards the water. It attracts traffic coming directly from the streets, and also will have a good view out through the chapelâ&#x20AC;&#x2122;s main hall.

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PART B REFLECTION my design idea is innovative as it challenges the classical understanding of cathedrals as having carefully sculpted decorations and extravagant colored windows to alter light. In my design, i proposed an idea that references the use of light as well as the decorative features used in classic cathedral designs, however, adding a modern twist as i plan on using contemporary building methods and materials with the addition of Solar energy that will power the lighting system within the structure. The design result is subtle and fitting within the environment. The blocky exterior of the chapel almost blends in with the rest of the buildings surrounding it, however, its extruding timber waffle grids on top will make it easily identifiable even from a distance. I think the contrast shown between the exterior and the interior is successful and the waffling system is especially fitting as it hides the structural elements of the building with forms that may replace the classic decorations within classical cathedrals. Finally, the design can also be improved in its formality and structural stability. In part C, i will experiment with more model making as the materialisation stage of Part B has failed because of technical difficulties, and i will also develop a suspension system that allows the waffling structure to be supported.

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Bibliography Study of Cathedral of Christ the Light, nai y. wang, http://www.nywong.com/Work/tech_som.html, last edited 2012, viewed 25th Sept The Metropol Parasol - The largest wooden structure in the worrld, http://www.kuriositas.com/2011/05/ metropol-parasol-largest-wooden.ahtml, 7th May 2011 Marmol, Carlos. “Un proyecto imposible” diariodesevilla.es February 2, 2010. Accessed September 30, 2012 “Leyendas de Sevilla: Metropol Parasol y Antiquarium”. Leyendasdesevilla.blogspot.com. 2011-07-19. Banq/office dA, archidaily, http://www.archdaily.com/42581/ banq-office-da/, last edited 03 dec 2009

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