Johnny zijian wang 637861 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.

CONCEPTUALISATION

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.

CONCEPTUALISATION 3

PART A CONCEPTURALISATION 4

CONCEPTUALISATION

A. PRECEDENT STUDY

A1: DESIGN FUTURING LAGI COMPETITION REVIEW

Precedent 1.0 - City Trace 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

Gdak & Gorczynska, City Trace Generator (2010)

CONCEPTUALISATION

Figure No.1 City Tracer Generator

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.

Figure No.2 City Tracer Generator

Figure No.3 City Tracer Generator

CONCEPTUALISATION 7

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

MacIntyre & Pelissero, The Living Ribbon (2010)

CONCEPTUALISATION

Figure No.5 The living Ribbon

CONCEPTUALISATION 9

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

CONCEPTUALISATION

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

A.2 DESIGN COMPUTATION CONCEPTUALISATION 11

CONCEPTUALISATION

Figure No.1 Modern Skyscraper Pr

roposal

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.

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

CONCEPTUALISATION 13

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 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

CONCEPTUALISATION

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

Figure No.6 - F2

Figure No.7 - F2

Figure No.8 - F2

CONCEPTUALISATION 15

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. 8. 9. Zaha Hadid Architects (2014) 16

CONCEPTUALISATION

Figure No.10 - City of Dreams hotel

CONCEPTUALISATION 17

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 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

CONCEPTUALISATION

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

A.3 COMPOSITION TO GENERATION CONCEPTUALISATION 19

CONCEPTUALISATION

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)

CONCEPTUALISATION 21

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

CONCEPTUALISATION

Figure No.2 - Shang Hai Tower CONCEPTUALISATION 23

CONCEPTUALISATION

Figure No.3 - Shang Hai Tower CONCEPTUALISATION 25

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)

CONCEPTUALISATION

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

CONCEPTUALISATION 27

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

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

CONCEPTUALISATION

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

CONCEPTUALISATION 29

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

CONCEPTUALISATION

PART A - CONCLUSION CONCEPTUALISATION 31

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.

CONCEPTUALISATION

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.

ALGORITHMIC SKETCHBOOK CONCEPTUALISATION 33

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.

CONCEPTUALISATION

CONCEPTUALISATION 35

PART B DESIGN APPROACH 36

CONCEPTUALISATION

B.1 RESEARCH FIELD CONCEPTUALISATION 37

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

CONCEPTUALISATION

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.

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. 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

CONCEPTUALISATION 39

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

CONCEPTUALISATION

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.

CONCEPTUALISATION 41

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.

CONCEPTUALISATION

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.

CONCEPTUALISATION 43

CASE STUDY 2.0

CONCEPTUALISATION

Figure No.3 - Metropol Parasol

CONCEPTUALISATION 45

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. 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

CONCEPTUALISATION

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

CONCEPTUALISATION 47

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.

CONCEPTUALISATION

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.

CONCEPTUALISATION 49

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

CONCEPTUALISATION

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

CONCEPTUALISATION 51

CONCEPTUALISATION

DRAPING AND SECTIONING This is one of my favourite outcomes of all the experiments. The waffling grid is pushed to its limits as can be seen on some of the extreme extrusions that happen on some of the steepest angles.

sharp and fluid. The form is built by draping over a series of surfaces combining the flattest areas and the steepest areas.

It shows alot of contrast in the waffling form between the lowest section where it is neat and firm to the higher sections where it seems more

CONCEPTUALISATION 53

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.

CONCEPTUALISATION

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, the most unique 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.

CONCEPTUALISATION 55

LAZER - CUT MODELING After experimenting with a few Grasshopper generated forms, i have decided to make a lazer cut model to analyze the design on a physical platform. Without any previous experiences in lazer cutting, i have made an error in offsetting the cutouts too thin the first time i printed, however, the second time i did not make the same mistake and the printing came out perfectly.

CONCEPTUALISATION

CONCEPTUALISATION 57

CONCEPTUALISATION

LAZER - CUT MODELING The lazer cut model was quite easily put together as i have made labels of each pieces of wood cut-outs. Failing on the first attempt of lazer cutting has made me learn a lesson of how to do it properly and gain a better understanding of how long it would take for the cutting job to be completed. In terms of the model itself, it did give me a decent understanding of how the shadows worked. However, i dont think it is the kind of visual effect i was going for. The wood panels appeared to be too thick for what i had imagined, and the

curvatures are not followed as closely as i would have liked the waffles to follow. Because of the wood thicknessa and the spaces between the wood, the waffle grid appears to be quite jumpy, the curves are not smooth enough to demonstrate a good flow of movements that i looked for in the sectioning technique. Therefore, in my future modeling processes, i will increase the number of panels on either the x or the y axis to demonstrate a better flow of the curves. That way, i will be able to control the shadows and the interior spacing alot more.

CONCEPTUALISATION 59

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.

CONCEPTUALISATION

PART B - OUTCOME No.2 CONCEPTUALISATION 61

PART B - SITE BACKGROUND

CONCEPTUALISATION

CONCEPTUALISATION 63

CONCEPTUALISATION

PART B - SITE HISTORY The history of the site is quite clearly depicted in the historical photographs provided on the LMS. The site used to be a huge shipyard. It was isolated from the city and is used as a huge junction of industrial interchanges.

It also slowly builds a community in that area that may last for generations to come. Furthermore, with the land area of 260 x 170m, ready to be used, there are unlimited potential for architectural developments.

In comparison to the site today, it appears the site has lost its purpose as it became empty and abandoned. Factories and shipyards were moved and it became a much less visited area. However, as i was recommended, the chapel idea would fit right in with this site. In order to revive the area and popularize the site, building a church in that area would attract users on a weekly basis.

I intend to develop a project in this area that can hopefully become a landmark of the small island junction, and use its parametric features to bring a contemporary spark that will hopefully light a fire to the old and forgotten shipyard, and boost its popularity.

CONCEPTUALISATION 65

PRECEDENCE STUDY

CONCEPTUALISATION

Figure No.5 -Cathedral of Christ the Light interior

CONCEPTUALISATION 67

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)

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

CONCEPTUALISATION

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

Figure No.5 -Cathedral joints CONCEPTUALISATION 69

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.

CONCEPTUALISATION

CONCEPTUALISATION 71

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.

CONCEPTUALISATION

CONCEPTUALISATION 73

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.

CONCEPTUALISATION

CONCEPTUALISATION 75

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.

CONCEPTUALISATION

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.

CONCEPTUALISATION 77

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.

CONCEPTUALISATION

CONCEPTUALISATION 79

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.

CONCEPTUALISATION

CONCEPTUALISATION 81

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.

CONCEPTUALISATION

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

CONCEPTUALISATION 83

PART C DETAILED DESIGN 84

CONCEPTUALISATION

C.1 DESIGN CONCEPT CONCEPTUALISATION 85

DESIGN CONCEPT - POST INTERIM SUBMISSION

The interim submission and presentations have not been particularly successful for me. I was stuck for most of Part B as i was very stuck on ideas and could not think of a way that would enhence the complexity of the waffling system. I had also had many issues with Grasshopper as well as lazer cutting, as both mentioned were quite new to me. However, i have learnt alot through my Part B experience in terms of understanding the modeling programs as well as time management. The suggestions given to me after Part B were mainly based around the fact that my definition was not enough to satisfy the subjectâ&#x20AC;&#x2122;s requirement as it is too simplistic. i had not yet considered the construction aspect of the design, and i feel like my renders needed to be improved in order to present a legitimate design proposal.

CONCEPTUALISATION

After trialing with the waffling material system for such a long time, i have decided to experiment with other material systems. However i still want to incorporate the waffling system in my design because i did find the interior space the waffles created quite unique and interesting. As i move on to writing more definitions in grasshopper, i am considering creating something more fluid and less rigid in order to constrast against the ordered waffling grid. Hopefully, with the addition of other material systems and further considerations of the construction processes as well as the uses of sustainable energy, i can improve my design. In terms of the design proposal, i have decided for it to remain the same as part B - a contemporary chaple influenced by elements of the classical cathedrals.

I still feel like the design agenda has alot of protential as the chapel may possibly become the area’s new landmark as it is no longer a shipyard, and appears quite abandoned after its industrial times. Similarly to the locations of many other medieval cathedrals, the site is quite isolated and because it is placed right along the waterway, it is highly visible by people from all around the area. Futhermore, the area also does not consist of many existing tall buildings, indicating that the chapel will receive plenty of sunlight that may enhence the users’ experience. The reason why my Part B proposal was not very successful was not because my design agenda was ineffective, but because my actual design was not a good representation of what i had in mind. Therefore, i will carry on the same idea, however, improve my design.

After analyzing the site once again, i liked my original idea of having a straight line of vision that looks through the structure, as well as having the structure extrude upwards as much as possible to have it create the same dramatic effects as a typical catherdral’s vaulted ceilings would. However, i need to work on the waffling technique to make it appear more unique and complex somehow through experimentations. I also need to develop new techniques to compliment the waffling system in order to make the design seem more complete. Finally, i will also have to look into the construction details in part C, to make sure the structure is no longer just an idea, but a realistic proposal.

CONCEPTUALISATION 87

CONCEPTUALISATION

DESIGN CONCEPT I have completely disregarded the box idea that i had in part B where the waffled timber appear to live within a rigid boxed shaped frame that was designed to contrast against the curved interior but also suspend the timber in some areas. However, after the feedback from Part B as well as more research and expeirments, i have decided that having an irregular exterior surface is much more unique and easy to work with as it does not restrict the design area within a box, and it also contrasts strongly against the rigid factories and other rather old industrial buildings surrounding the harbour. The image to the left shows a distant view of my first Part C Design concept. The techniques used and the construction elements designed will be further explained in the later sections of the journal.

CONCEPTUALISATION 89

CONCEPTUALISATION

DESIGN CONCEPT - Technique No.1

The first technique that i used in creating the new design is the waffling technique that i have been using for the first few design outcomes. However, Instead of extruding a curve into a solid then applying the definition to the brep object, i have draped sections of the overall reference curve and extruded them seperately to create the rendering above. I have used the draping techniques in rhino to isolate sections of the curves in Part Bâ&#x20AC;&#x2122;s sketches, however i found that extruding surfaces seperately has allowed alot more control than extruding them all together to the same depth.

Because the curves i have been using have alot of sharp angles, extruding those steep sections individually are able to allow more thickness in those certain weak areas to improve the strength of the structure. I have also altered the height of the draping so that there are some slight offsets, making each sections appear as individual pieces. I found this technique very effective not only because it is rather simple to construct, but also because it allows for the skylight to be more controlled as well as making the interior appear more eligant and complex.

CONCEPTUALISATION 91

CONCEPTUALISATION

CONCEPTUALISATION 93

DESIGN CONCEPT - Technique No.2

CONCEPTUALISATION

This is the second technique i have experimented with in Part C. This network of weaving system is created with exoskeleton and weaverbird in Grasshopper, and the results appear to be quite interesting. The definition ultimately creates three layers of hexagon surfaces that offset from each other at their intersecting points, creating a weaved look. The net-like weave is adaptable to a variety of surfaces, with the definition being able to alter the meshâ&#x20AC;&#x2122;s circumference and the offset depth between the meshes. I imagined these weaved features could be used in my design as a steel network that hovers over the waffling grid, that either holds the waffle together through its joints, or as the support of the solar panels that i desire to use.

However, although the definition is one of the most successful ones i have been able to use in my experimental stages, i did have some difficulties with this technique. The main difficulty i had was attempting to fit panels in between these hexagon openings. However, it was impossible to do so because of the nature of the weaving process. Also, the dimentions of the hexagons are quite restricted because lunchbox does not allow the weaving meshes to be to close together, as alot of the times it considers the input as error. With such inconsistent outcomes and such a time consuming process of inputting data to make the weave actually appear in Rhino, i have decided to move onto other material systems until i was able to solve the existing issues with this definition.

CONCEPTUALISATION 95

CONCEPTUALISATION

CONCEPTUALISATION 97

DESIGN CONCEPT - Technique No.3 This is the third definition i have created, and it is inspired by the Bird Nest stadium in Beijing, China. This definition is by far the easiest to workwith because it adapts to all surfaces and it behaves very consistantly. The directions of the pipes are determined by a series of point inputs, and the density of the piping is also able to be controlled through a slider. However, As seen in the series of sketches on the left, the higher the surface reaches, the more dense the piping becomes because as the surface gets higher, its area becomes smaller. And based on the equal spread of pipes on areas, it forces the piping to be denser at higher areas. This nature of the definition immediately reminds me to consider using this element as a part of the construction process because the higher a structure builds, the more support it is going to need. And the nature of this definition suits that need perfectly.

CONCEPTUALISATION

CONCEPTUALISATION 99

100

CONCEPTUALISATION

DESIGN PROPOSAL 1.0 CONCEPTUALISATION 101

102

CONCEPTUALISATION

DESIGN PROPOSAL 1.0 - Overview With the use of the waffling definition and the third Bird Nest Stadium inspired technique, i was able to create this design proposal that i presented at the Studioâ&#x20AC;&#x2122;s final presentation. The interior outline of this new structure is quite similar to the final Part B outcomeâ&#x20AC;&#x2122;s interior. However, the waffling system is suspended from the steel supports that run along the sides of the building, appearing almost like it hovering inside a glass cage. Making it appear raw and contemporary. The piping generated by the definition not only enehences the aesthetics appeal of the design, but also acts as a structural member as i placed the piping right on top of the steel members that

run along the lenght of the building so the building is able to have additional support. I did so by using the same curve that created the draped waffling sections to generate the steel collums, beams and piping. Also, a patch of wind panels is also visible in the design as i wanted to use it to power the lighting for the interior of the building. The reason why i placed it at the top of the structure is that i predicted that area to have the most amount of exposure to wind, therefore generating the most amount of energy. With that being the original idea, after some consideration, i have decided to change the wind panels to solar panels, because solar exposure is more consistant than wind exposure.

CONCEPTUALISATION 103

DESIGN DESIGN PROPOSAL PROPOSAL 1.0 1.0 -- STRUCTURAL STRUCTURAL ELEMENTS MEMBERS

104

CONCEPTUALISATION

CONCEPTUALISATION 105

106

CONCEPTUALISATION

DESIGN PROPOSAL 1.0 - Section The interior set-up of the chapel is some what similar to the inteior plan i presented in part B. However, instead of breaking the interior to a multiple sections, i have decided to take on the minimalistic approach and have only one commonly shared interior space. As the users walk into the structure, the focal point of their vision will be focused directly towards the podium at the very front of the chapel, making the purpose of the interior space very straight forward to the users. In designing the interior, i did not want to include any other elements besides the basic podiums and bench chairs that are commonly found in churches all around the world becaus they may take the usersâ&#x20AC;&#x2122; attention away from the waffling systems both suspended from the main structure, and on the sides of the walls. The reason why i covered the sides of the interior in vertical panels is that i wanted to cover up the steel structural collums that exist along the sides of the building. But also, the panels on the side

would guide the usersâ&#x20AC;&#x2122; vision towards the front of the interior space. The panels also controls the amount of light that enters into the building. Because the panels are quite long, it is only when the light is coming at a direct angle that it is able to shine into the building. If the angle is slightly off, the light will be projected onto the panels and not enter the building. This fact may create some interesting effects inside the building along with the suspended ceiling structure. From this section view, it is also visible that there are window frames covering the front, back, side and top of the building. I want the building to be completely weather proof because rainfall and other moistures may damage the timber in the long term, and also, it would not stop people from attending services because the weather is not dry. Construction drawings with more details and further developments of the building will be further explained in the next parts of the journal.

CONCEPTUALISATION 107

108

CONCEPTUALISATION

DESIGN PROPOSAL 1.0 - Steel Members As described in the previous page, these renderings demonstrate how the steel members are placed along the building in oder to carry the suspended timber ceiling. The steel collumns and beams are modeled with the original curve that created the waffle grid, and the waffle definition. However, i only placed an input into the number of x-axis waffle panels, and had no input in the y-axis waffle panels. Therefore, definition equaly divided up the brep into these steel members that run perfectly along the shell of the waffle grid.

CONCEPTUALISATION 109

110

CONCEPTUALISATION

DESIGN PROPOSAL 1.0 - Side Panels These renders describe the reason behind me using the panels of the sides of the building. Similarly, the panels used here on the sides of the building here are generated with the same waffling definition, except it has a 0 y-axis panel input, leading to the definition only dividing the prep object on the x-axis. The reason why i only created these vertical panels without any horizontal waffling members is that i wanted to create the visual effect that my Part A precedence Banq Restaurant had created with its interior design. It is only when youâ&#x20AC;&#x2122;re facing a direct angle, that you may see through the panels. When viewed from an angle, the panels create a visual effect that appears almost like a gradient that gets darker as the distance grows further.

CONCEPTUALISATION 111

112

CONCEPTUALISATION

DESIGN PROPOSAL 1.0 - Interior After demonstrating how the waffle structure is placed within the steel frame on the outside, this rendering describes the interior aesthetics created by the waffle grids. In comparison to the Part B outcome, this version of the interior design appears alot more controlled, and the varying offseets between the hovering ceiling is contrasted against the consistantly spaced vertical panels along the sides, making the interior of the building appear as if it is moving. The height and length changes in the waffling grid also creates interesting shadows. Later renderings will demonstrate a more developed look of this interior design.

CONCEPTUALISATION 113

DESIGN PROPOSAL 1.0 - Construction Steps The construction process of the design has been broken down into 5 steps, with each step adding a new layer to the building. Beginning with the main structural elements in step 1, the straight collums and curved beams are welded and bolted together and placed on the site. As the steel collums are being installed, the steel piping elements will also be welded onto the sides of the core steel members as additional support. In step 3 the steel frames for the glass windows will be installed between the main steel members. The construction of the interior may not commence until the building is weather proof because the timber may be damaged or worn during the time of construction. Following step 3, in step 4, the waffling grid on the interior will slowly be installed.

114

CONCEPTUALISATION

And finally in step 5, the solar panels will be placed on top of the building. These are only the most basic steps of construction to gain a good understanding of the main elements that make up the building. The next part of the journal will explain how each individual elements are put together.

CONCEPTUALISATION 115

116

CONCEPTUALISATION

BUILT DETAILS In this next section of the journal, digital models will be used to describe some of the small joints that are used to makeup the larger elements. Ideas are also developed further in this section, and changes are made to the first Part C design Proposal.

CONCEPTUALISATION 117

WAFFLE DETAIL This page of the journal describes how the main element of the design - the waffle ceiling is constructed. As seen in the figures on the right, the pieces of timber are slided into each other, almost like piecing floorboards, and then joint together with bolts and nuts. This type of construction process has to take place because of the exaggerated length of these waffling panels along with the limitations on timber spans. This method of construction is inspired by the construction process of the Metrapol Parasol, where the waffling pieces are joint together by glue and bolts. However, i only chose to use bolts because these timber members are not load bearing and will be built as light weight as possible. Therefore, bolts should be enough to hold the weight of the panels. After the panels on the x-axis are joint together, they will be individually placed onto the y-axis panels to form the waffle form. The y-axis panels are of alot thicker cut and will be sourced in whole pieces if possible to increase its strength.

118

CONCEPTUALISATION

CONCEPTUALISATION 119

120

CONCEPTUALISATION

SUSPENSION DETAIL The timber ceiling will be suspended from the steel structure that runs along the building. As see in the images, hook joints will be placed along the horizontal members, and wire rope will be used to suspend the timber ceiling. The amount of space given between each hook and the thickness of the wire rope will be determined by the angles of that area of the ceiling. the steeper it is, the denser the wire ropes will need to be, in order to support all the weight applied in that area.

CONCEPTUALISATION 121

122

CONCEPTUALISATION

DESIGN PROPOSAL 1.0 - RENEWABLE ENERGY

CONCEPTUALISATION 123

124

CONCEPTUALISATION

DESIGN PROPOSAL 1.0 - RENEWABLE ENERGY Originally, my idea was to place wind panels all over the top of the chapel structure. Because the top of the structure reaches high up, it is quite possible that i would gain alot of wind movements that could generage electricity. However, with further research and careful consideration, i have decided to go back to using solar panels simply because sunlight is a much more consistant source of energay than wind. Although it may be interesting using wind to generate power, solar functions better and that is the one i have decided to use. With that being said, the solar panels i have chosen to use is not like the conventional types of solar panels that are seen on most domestic housing projects, i have decided to use a semi transparent type of solar panels called ‘Building Integrated Photovoltaic’ (BIPV).1 It not only provides green energy, but it also can be customized in different dimensions, thicknesses, shapes and color, which suits exactly my needs. The panels are placed between two pieces of ‘Solar Constructions Asi Glass’ that are laminated together. Each individual piece of glass has its own power output. With a roof of this size, glass joints and electrical outputs must be organised in a ordered manner. Therefore, i used lunchbox in GH to create a grid on the top surface that are equally divided into

sections. And in each section, there will be one piece of the solar panel. I have also chosen to tint the glass color to a dark grey/black color because this area will be placed above the bench chairs section of the chapel. I want to control the lighting in that area, so that in comparison, there will be more light shined on the podium than in the seats section, allowing the church-goers to focus better on the speaker.

Transparent solar panels, Solar construction,2014

1 Transparent Solar Panels, Solar Construction, http://www.solar-constructions.com/wordpress/transparent-solar-panels/ CONCEPTUALISATION 125

RENEWABLE ENERGY - Solar Panel Joints With the top left render being a Rhino recreation of the transparent solar panel system, the bottom render displays the way the panels are meant to be joint together. Because the glass panels are able to bend in multiple directions, the steel frames will also be flexible. It would be difficult to piece the entire roof with a minimal amount of glass panels because eventhough it does allow bending, the angle of bending wouldnâ&#x20AC;&#x2122;t be very steep. Therefore, i just decided to increase the amount of panels and allocated more panel pieces at sections where they are more curved.

Transparent solar panels, Solar construction,2014

126

CONCEPTUALISATION

CONCEPTUALISATION 127

128

CONCEPTUALISATION

DESIGN PROPOSAL 1.5 - LIGHTING

CONCEPTUALISATION 129

DESIGN PROPOSAL 1.5 - LIGHTING The lighting section will be the first development section that bridges between design proposal 1.0 and design proposal 2.0. Originally, i wanted to place lights within the waffling sections and have lights come through there and create interesting shadows on the inside of the chapel. However, i came up with the idea of converting some of the piping on the exterior from steel to glass with light blue lights inside them. As the piping system developed, it became more and more of a possible iconic feature of the design. Therefore, i want to exhibit it during night time as well as day time.

130

CONCEPTUALISATION

With the energy generated by the solar panels during the day, itâ&#x20AC;&#x2122;ll hopefully power the light tubes during the night. As stated in previous pages, each piece of glass solar panels will have their individual power outputs. These output wires wil be organised into sections and fed into the enter point of the light tubes, releasing the energy generated during the day once it hits a certain time during the night.

CONCEPTUALISATION 131

132

CONCEPTUALISATION

DESIGN PROPOSAL 1.5 - LIGHTING The light tubes will be fitted on top of the core steel structures. They would be divided and connected in sections with the intersections of each steem beam being the end of a tube andthe beginning of another, with a power transmitter in between the two tubes. (As seen in images on the left) The fact that the light tubes are desided to fit on top of the beams have allowed room for the structural tubes to run underneath and through the steel beams as they add strength to the structure itself.

Furthermore, the render on the bottom displays a sectioned view of the lighting sytem with the solar panels hidden. The wiring will be placed above the waffle grids so that the users inside the building will not see the messy wires going through the structure. However, they will see the blue light shine through the waffled ceiling at night, creating light effects on both the outside and the inside.

CONCEPTUALISATION 133

134

CONCEPTUALISATION

DESIGN PROPOSAL 1.5 - SITE ANALYSIS

In Design Proposal 1.0, i placed the chapel right in the middle of the site and allocated trees to both sides of the chapel. However, after some consideration i have decided that only having vegetation around my design seems a little out of place and i needed to add something that hopefully blends the structure in with the site. After that thought, i began looking at the site and started considering how i would want to guide the visitors through the site. As labeled in the LAGI brief, there is a water taxi terminal on the South side of the site that is still in operation. (On the sketch above, the blue lines showed that the water taxis may come from various directions, therefore, the site has to look balanced from all angles.

Because the water taxi terminal faces the side of the chapel, it would not be the most welcoming thing for visitors to come off the water taxi, but be faced by the side of the building. Therefore, i may cut down on the vegetation that i have planned to plan on the site, but create a water taxi terminal entrance point that guides the users towards the main entrance of the site. Furthermore, what i do to the site cannot effect the straight view that the users would have being inside the building. the tunnel of vision may not be interrupted as i have considered it to be one of the main features of the site.

CONCEPTUALISATION 135

136

CONCEPTUALISATION

DESIGN PROPOSAL 1.5 - SITE ANALYSIS

There was no better way to make the structure blend in to its environments than to take a part of the building out and then create more prototypes of that. The piping system has deemed to be very successful in my design, and i feel like it is the appropriate material system to be placed on the site around the cathedral. I began with designing the water taxi terminal, however, it looked inbalanced with only the water taxi terminal on one side, i decided to then further design these shelters of resting areas that may provide people a space to sit and use the site after or before they enter the chapel. The gaps between the pipes also allow room for trees to grow. The organic iron piping will then be placed all around the site as if it is growing on the land.

The top image indicates the two main directs people would choose to come and visit the site. Blue being from the local entrance, where people may park in the local parking area and walk into the site, while the red indicates people offloading from the water taxi terminal. These visitors would then travel through the tunnel and be guided to the main entrance of the chapel. The circulation around the building has no strict order, the users may walk in which ever direction. The piping also extrudes into the water in some areas as also seen in the diagram to add more movements and change in contours of the piping system.

CONCEPTUALISATION 137

138

CONCEPTUALISATION

FINAL DESIGN PROPOSAL CONCEPTUALISATION 139

140

CONCEPTUALISATION

CONCEPTUALISATION 141

142

CONCEPTUALISATION

CONCEPTUALISATION 143

144

CONCEPTUALISATION

CONCEPTUALISATION 145

146

CONCEPTUALISATION

CONCEPTUALISATION 147

148

CONCEPTUALISATION

TECTONIC ELEMENTS & PROTOTYPES The overall model for my design, i have decided to cut a section out of the chapel and 3D print it via FabLab. The cut out will display a series of layers within the chapel design. The solar Panel and the rope wires were not able to be printed because of FabLabâ&#x20AC;&#x2122;s limit of minimum 2mm per object. However, the piping, the waffle grid,the steel structures as well as the alter were all included in the 3D printing.

CONCEPTUALISATION 149

3D PRINTING The outcome of the Fablab printings were quite successful, the building is cut to its very last detail and all the joints are properly attatched besides the last beam at the end of the model that has snapped off during the printing proccess, but glued back on afterwards. I am quite happy with how the model turned out and it definitely is a clear indication of what the design is like in person.

150

CONCEPTUALISATION

CONCEPTUALISATION 151

152

CONCEPTUALISATION

3D PRINTING As can be seen in the image, the lighting casted by the waffle grids and the piping is quite intense. (Photo taken with a spot light pointed at the modelâ&#x20AC;&#x2122;s left side) The patterns behaved the way i expected it to and i can imagine if the build is actually built, the lighting efect would be ever more dramatic because some 3D printing limitations have forced me to remove some elements of the design.

CONCEPTUALISATION 153

154

CONCEPTUALISATION

CONCEPTUALISATION 155

BUILT DETAIL MAKING For my detail model, i have decided to make one section of a waffle. I 3D printed 3 layers of waffle panels and glued them together to increase the thickness and avoid breaks. In order to recreate the digital modelâ&#x20AC;&#x2122;s interlocking and bolting joint, i cut the middle layer of the MDF wood in sections, and etched the two ooutside pieces indicating where the wood pieces may seperate.

156

CONCEPTUALISATION

Because of material limitations, i was only able to produce an imitation of the desired joint. However, after the bolt and nut were screwed on, it looks very similar to the type of joint i designed for the waffled ceiling. In reality, the waffle pieces would be placed alot closer to each other. However, for the sake of the exercise, i spaced the pieces out so the joints are visible to be seen without too much effort.

CONCEPTUALISATION 157

158

CONCEPTUALISATION

BUILT DETAIL MAKING As seen in the three images above, the etching were made to indicate where the wood would seperate, and in the middle image, the sliding middle piece is visible through the gap in the middle of the wood layers.

CONCEPTUALISATION 159

160

CONCEPTUALISATION

BUILT DETAIL MAKING The final outcome of the detail model is also quite successful like the 3D printed model. It gives a good indication of the type of joint i wanted to use for the waffle system, and the shadows are very expressive and sensitive to light changes.

CONCEPTUALISATION 161

162

CONCEPTUALISATION

FIN.

CONCEPTUALISATION 163