Studio Air: Part A-B | Joshua Christian - 733315 by Joshua Christian

AIR Algorithmic Journal

Joshua Christian 733315 Studio 14

Architecture is the will of the age conceived in spatial terms - Ludwig Mies Van Der Rohe 2

Content Introduction

0.4.1.1 Idea Development 0.4.1.2 Tecnique Development Part A: Conceptualization 0.4.2 Species Selection 0.5 Technique and Prototypes 0.1 Design Futuring 0.5.1 Testing 0.1.1 Mesiniaga (IBM) Tower 0.5.2 Reflection 0.1.2 Cardboard Cathedral 0.5.3 Laser Cutting 0.2 Design Computation 0.5.3.1 Performance 0.2.1 Serpentine Sackler Gallery 0.6 Technique Proposal 0.2.2 ICD/ITKE 2014-2015 0.6.1 The Gadang Shed Pavilion 0.7 Learning Outcomes 0.3 Composition and Generation 0.8 Algorithmic Sketches 0.3.1 MOCAPE 0.3.2 Elbphilharmonie 0.4 Conclusion 0.5 Learning Outcomes 0.6 Appendix - Algorithm Sketches

Part B: Criteria Design 0.1 Research Field: Patterning 0.2 Case Study 1: De Young Museum 0.2.1 Exploration Sketches 0.2.2 Species selection 0.3 Case Study 2 0.3.1 VoltaDOM 0.3.2ICD Itke Pavilion 2011 0.4 Technique and Development 0.4.1 Technique Development

Introduction

My name is Joshua Christian, I was born on 30th March 1997, and I am from Jakarta, Indonesia. I am a student in University of Melbourne, third year, first semester in the Bachelor of Environments, majoring in Architecture. I have learned about design since July 2014. I was taught about the process and history of design, how it can be applied to other stream of design such as fashion design, movies, and furniture. Throughout my learning progress, I have learned that design is what I like, it is a iterating process that is similar with writing an essay but with forms and aesthetics. I have learned digitalized design since semester 2 of 2015, in the Visualizing Environments subject. I learned Photoshop, Indesign, Autocad, Rhino, Sketchup, and currently still learning these softwares and a new one lately, Revit. Iâ&#x20AC;&#x2122;ve seen a lot of architects use these kind of tools to create architecture. I believe these tools are great in designing buildings, to visualize the building easily. Comparing the life of architects before CAD, I am lucky enough to be born in the digital era where 3D modelling exists. It really helps me to be more accurate in capturing the condition of the built structure especially with BIM. These softwares help architects to create building, but it is difficult to create a more ambitious building such as neo-futurism movement, like Zaha Hadidâ&#x20AC;&#x2122;s building. Computational design takes an important place here. I have never touched computational design before, but I have learned a bit about its language, which is python coding that I learned about 2 years ago. I believe computational design has a large prospect for future architecture. It really helps and aids architect to visualize a complex, repetitive patterns in designing a building. The clear example is ITKE reasearch pavilion that takes a research in parametric design, and 2015 NGV summer architecture by JW Architects. I am hoping that through this subject, I could be one of the architect that looks to the future of design in the manner of computational, because I believe, this can be an integration between Engineering and Architecture. 4

Visualizing Environments

Studio Water, Interior Shot Studio Earth: Hero Shot

Studio Water, Hero Shot 5

Conceptualization 6

0.1 Design Futuring 8

In recent years, design is concerning the sustainability of our environment. Tony Fry addresses this concern clearly through his book: Design Futuring: Sustainability, Ethics and Politics. We see that environmental concern has to be raised by every single person on the earth. Fry clearly argues that today’s society often disregard sustainability, in which may cause a natural cataclysm that leads to extinction, should we not concern with our environments[1]. Sustainable architecture has been a focus in contemporary practice, however, it is not complete yet. Fry aimed to achieve a mental revolution to change how we practice our architecture today, a redirection for the better future. This perhaps may be achieved by the use of design that is addressed by Anthony Dunne and Fionna Raby, in their book: Speculative Everything [2]. The book invites us to think “what if?” of the future, instead of shaping our future. It provides a insight of posisibilities of the future.

Critical Design that is addressed by Dunne and Raby provides an insight on how design provides a reflection. It may be a controversy to some, but it opens possibility to have a different reality. The question of “what if” is expressed clearly through this critique. It is a rather an intriguing and interesting thesis to vew design from other point of view. Since Dunne and Raby opens up another possible use of a design, critical design could be used to criticize the current architectural practice. Such use can reflect, re-contemplate, and re-configure any practices in any time. It provides an insight, a possibility, of the future. However, it is quite clear that today’s architectural focus is on sustainability, like Fry mentioned, to prolonged the upcoming cataclysm. We can envision now on one possible future that we are moving towards to. In a latter time, perhaps the idea that is focused today would be seen as obsolete and there would be another re-configuration of the future architectural practice. This, is also a possible future.

However, one crucial point that is made by Dunne and Raby is that Design Critique. Design are often thought as a process of problem solving, however, Dunne and Raby enlighten us with a new perspective of design, as a dream, as a tool to foresee the possible future, and as a communication that leads to critique.

[1] Tony Fry, ‘Introduction’, in Design Futuring: Sustainability, Ethics and New Practice (Berg: Oxford, 2008), pp. 1-16. [2] Anthony Dunne, and Fiona Raby, ‘Introduction; Critical Design’, in Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2016), pp. 1-9, 33-45. 9

0.1.1 Mesiniaga Tower Location: Selangor, Malaysia Date finished: 1992 Architect: T. R. Hamzah, Ken Yeang

Mesiniaga Tower, or IBM Tower, was the first modern bioclimatic architecture, created by Kenyang. It has the passive design features in both internal and external part of the building. These feature create a low-energy building, which is suitable for Kuala Lumpur’s tropical climate. The tower includes a spiral garden-teraces, or what Yeang called “Vertical Landscaping”, that spirals 3 stories upward, to reduce heat gain of the building. The tower also includes PV panels as an energy resource to reduce the electricity usage from the grid. [1] This bioclimatic tower also includes passive strategies such as natural ventilation and air circulation, hsadings, glazing, and aluminun louvers to prevent heat gain, thus reducing the use of air conditioning. This tower influenced other architects in Southeast Asia in adopting the bioclimatic principles, since this region has a tropical humid climate. [2]

this was seen as a breakthrough, and a radical innovation, since this is a pioneer, to the world of architecture. This building perhaps brought consciousness on the importance of sustainability. It perhaps made the architects then reflected on their practices. This building, could be said, marked the origin of current eco-tower possibilities. Furthermore, perhaps at that time, this was seen as a possibility of a future architectural practice, a focus on sustainability, that is currently being implemented. Perhaps, now this building is not so regarded as a “future”, but looking at the context and the time it was being built, this tower perhaps was seen as a futuristic design, without taking into account the possibility of computational design at that time.

In my own perspective, this building is unique. Compare to other contemporary building, perhaps this building is disregard. However, this tower is the pioneer of many eco-towers, which could be debated that without this tower, there would not be any eco-tower currently. At that time, perhaps

[1] T. R. Hamzah, and Ken Yeang, ‘Menara Mesiniaga Features Bioclimatics’2010) <http://www.solaripedia.com/13/302/ Menara+Mesiniaga+Features+Bioclimatics+%28Malaysia%29.html >. [2] David Douglass-Jaimes, ‘Ad Classics: Menara Mesiniaga / T.R. Hamzah & Yeang Sdn. Bhd.’, Archdaily, (2015) <http://www.archdaily. com/774098/ad-classics-menara-mesiniaga-t-r-hamzah-and-yeang-sdn-bhd >. 10

Mesiniaga (IBM) Tower, Photograph by Aga Khan Developing Network (circa 1993-1995)

Axonometric Diagaram

Concept Sketches 11

0.1.2 Cardboard Cathedral Location: Christchurch, New Zealand Date finished: 2013 Architect: Shigeru Ban

The Cardboard Cathedral, is an A-formed church that is made from 98 equally sized cardboard tubes and 8 steel shipping containers, made by Shigeru Ban. It is said to be one of the safest, earthquake-proof buildings in Christchurch, New Zaland. The idea of a building, created from a recycled cardboard has been the distinction of Shigeru Ban [1]. This building is also seen as an innovative and environmentally conscious for its use of recycled peper tubes as a building material. Ban said that this building was to be practical, economical [2]. This building, could be said, represents one way to sustain the environment. Personally, the idea of recycling materials for architecture is quite rare currently. This innovation may perhaps influenced future architects to follow Ban’s steps in using recycled materials, since current architectural practices focuses on low energy usage materials, but not recycled materials.

It also acts as a reminder and critique to current architectural practice, in which aims for complexity and extravagant, instead of simplicity and humility. This building may not last long, since it is a temporary building, but hopefully, this innovative idea of recycling would be implemented in the future. Other than sustainability issues, the use of recycled materials as a building materials reduce the cost and time of the construction, therefore, more efficient. Should this idea is taken into account in the future, there is a possibility that architectural practice will be based on this idea. Its economical and efficient value perhaps can improve the society in a whole, providing structures for the homeless, quick assembly and disassembly, making it portable. Although it may not be real, it is still, another possibility.

This building perhaps opens up another possibility of the future, where there would be a revolution of architectural practice that take the path of recycling. This future, is possible and also plausible, to have a sustainable environment.

[1] Karissa Rosenfield, ‘Newly Released Photos of Shigeru Ban’s Cardboard Cathedral in New Zealand’, Archdaily, (2013) <http://www. archdaily.com/413224/shigeru-ban-completes-cardboard-cathedral-in-new-zealand >. [2] Andrews Barrie, ‘Shigeru Ban and the Cardboard Cathedral’, ArchitectureAU, (2013) <http://architectureau.com/articles/christchurchtransitional-cardboard-cathedral-1/ >. 12

Courtesy of Christchurch City Libraryâ&#x20AC;&#x2122;s Flickr

Exploded drawings

0.2 Design Computation 14

Technology has developed significantly, and it sure has affected the practice of Architecture today. This effect has impacted this practice that it might have what Oxman [1] called the Vitruvian Effect. It has evolved significantly into the practice that it change the whole process from conceptualizing to fabrication in architecture. Perhaps, we are now in a progress to utilize the technology as a tools to process and fabricate the design concept. Different than the traditional architectural practice, we now cultivate the ideas digitally, using algorithm and parametric approach. This is called computational design. Not to be confused with computerizaion, computation is not a toll as a means to digitalized the pre-made concept by the architect, but the conceptualisation takes place in digitally. The process, nevertheless, require a skill to utilize the computation. Algorithmic thinking is vitally needed in using the parametric design. Kalay [2] also discusses the importance of skills in using this tool to communicate. Designers are also aided by this tool to sketch, find forms, optimize, solve problems, and evaluate the design digitally. However, these interaction and communication cannot be achieved if we do not understand the language of the tools. Human-computer relationship is crucial in computation design. The computers are only translating and developing the language inserted by the users.

Personally, computational design is a new process of design to me. It is striving away from traditional process, and many designers are currently shifting their practice from conventional manner into computational process. I believe that design computation is a new way of architecture. It is more efficient, since the process can be done digitally. It can achieve the level of accuracy and complexity that is above the traditional level. It is now in practice worldwide, by the late Zaha Hadid, Patrik Schumaker, Herzog and Demeuron, Norman Foster, and many more. In Stuttgart, Germany, each year the University of Stuttgart creates a pavilion that is made computationally using robotics and parametric design. The ICD/ITKE pavilions are great examples of parametric design and the possibilities of computation design. Moreover, this shift, perhaps opens a new possibility of a futre, that Dunne and Raby [3] have argued. The use of computation design now is perhaps seen as a stepping stone in moving towards a futuristic architecture.

[1] Rivka Oxman, and Robert Oxman, ‘Introduction’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014), pp. 1-10. [2] Yehuda E. Kalay, ‘Introduction’, in Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge; MA: MIT Press, 2004), pp. 5-25. 15

0.2.1 Serpentine Sackler Gallery Location: London, UK Date finished: 2013 Architect: Zaha Hadid

Originally a gunpowder storage for English military camp back in the 19th century, Zaha Hadid successfully synthesized the existing building into a new, striking neo-futuristic form. This contrast, a synthesize of contrast creates a feeling that there’s a seperation of function between the classical structure and Hadid’s extension, but both serve the same funciton. The fluid structure also creates a sculpted space and ligthing, giving an airy and light interior [1]. The structure is clearly made by computation. The fluidity, complexity of forms are difficult to be constructed and drawn if not mathematically computed. For me, this is one of possibility of design computation. There would be a lot more, perhaps, infinite of possibilities and potential on how computation can do to the design.

be realized and constructed. The performance is also calculated through a series of algorithm. Although the construction is not being done using computer aid such as robotics, or any other unconventional machineries, it could be said that it quickens the process of the construction, since the whole form is prefabricated, the structure is constructed, and joined on the site. The sketches and diagrams below shows the elements of computation that later be synthesized into one form.

Moreover, I think that the whole process is also computated and calculated algorithmically. The membranic form should be optimized, to make sure that the folding and fluidity of the forms can

[1] Zaha Hadid, ‘The Serpentine Sackler Gallery / Zaha Hadid Architects’, ArchDaily, (2013) <http://www.archdaily.com/433507/theserpentine-sackler-gallery-zaha-hadid-architects>.

0.2.2 ICD/ITKE Pavilion 2015 Location: Stuttgart, Germany Date finished: 2015 Architect: University of Stuttgart

“The ICD/ITKE Research Pavilion 2014-15 demonstrates the architectural potential of a novel building method inspired by the underwater nest construction of the water spider.” (ICD of University of Stuttgart (2015)). THe research pavilion shows the potential and possibility of architectural computation. In the period of 2014-2015, the institution was doing a research on the biological construction process for fiber-reinforced structure. In architectural practice, this process is seen as vital since architecturla prcatices need formwork to construct the building, however, this computated process does not require any formwork [1]. The material that is used are ETFE and carbon fibre, which is a more of an unconventional material in constructing a building. Moreover, the use of robotics in constructing the building is considered to be a new process in construction that requires a little resource and time [2].

It could be seen that the process that was done focused on computation and robotics fabrication. Although the base idea of the building is a water spider net, it is seen clearly that the process from form-finding, generation, and experimentation was done in the manner of computation and algorithm that is translated through the use of robotics as the main constructor. It is clearly seen that in design computation, computer serves the primary factor in designing. Different than computerization, where the whole process is translated into digitally, design computation is the problem solving of the design ideas are translated using a series of codes and algorithms. This pavilion responds to Kalay’s argument, in which the process of design, from conceptualisation to fabrication, can be done using computational algorithm [3].

Nevertheless, I believe that this is also an exemplar of computated design and fabrication.

[1] ICD Institute of University of Stuttgart, ‘Icd/Itke Research Pavilion 2014-2015’2015) <http://icd.uni-stuttgart.de/?p=12965>. [2] Hallie Busta, ‘Icd/Itke Research Pavilion’, Architect, (2015) <http://www.architectmagazine.com/project-gallery/icd-itke-2014-2015research-pavilion_o>. [3] Yehuda E. Kalay, ‘Introduction’, in Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge; MA: MIT Press, 2004), pp. 5-25. 18

0.3 Composition/Generation 20

Architectural practice, is perhaps, changing. Other than focusing on sustainability and performance efficiency, like Fry and Kalay have argued previously, the whole design process is perhaps changing. Conventionally, architects find forms through compositioning the space. Renaissance and Baroque architecture focused on symmetry, Frank Llouyd Wright in the modern era focuses on the hierarchy of spatial composition. Current architects also practices on compositioning as well. However, design computation opened another possibility of finding a form. The form-finding process is simulated and digitally created through a form generation, or what is now called generative design. Form-finding in generative design is based on the computation parameter that contains algorithm. As described by Wilson and Kiel [1], algorithm is a language of systematic process that is understood by a computer in order to operate the input. Therefore, it could be said that algorithm is parametrically set, under a certain ‘rule’.

also appoint external expertise to generate forms. The ability of an algorithm in creating several forms through a generative design, shifts the idea of design, from creating a form, into choosing a form. The form generated by the computer is also optimised to create a structurally sound architecture. Through a series of another algorithm, the computer also generate optimized forms, structurally. These forms, that are generated are possibilities of what the architecture may be. The idea of generating forms are unconventional. We are currently shifting our design generative thinking from our mind into the computer. It is practical, and yet I fear that this shift may lose the purity of architects in terms of creativity. Since Peters mentioned that architects can become an engineer architect hybrid, I fear that architect will fell asleep, while engineers are working indefinitely, just like Corbusier did in the early of modernism when engineers were overtaking architecture.

The algorithmic process is what create the design. Therefore, instead of composing the form, designers now can generate forms through algorithmic process that is done in the computer. Peters [2] mentioned several architectural practice that uses this technique, including Norman and Foster, Herzog and Demeuron, Grimshaw Architects, UNStudio, etcetera. These firms have their internal experts of computation designers, however firms may

[1] ‘Definition of ‘Algorithm’’, in The MIT Encyclopedia of the Cognitive Sciences, ed. by Robert A. Wilson and Frank C. Keil (London: MIT Press, 1999), pp. 11, 12. [2] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), 08-15. 21

0.3.1 MOCAPE Location: Shenzhen, China Date finished: 2016 Architect: Coop Himmelb(l)au

The Museum of Contemporary Art & Planning Exhibition (MOCAPE), is a cultural meeting point in the urbanized Shenzhen. The building serves as a large open space interior, ranging from the plaza, multifunction hall, auditoriums, and libraries. MOCAPE’s monolithic form complies with its surrounding urban areas. The large forms and futuristic urban style unify its style with the other urbanized buildings. The building also has a high sustainability performance. MOCAPE aims to reduce the overall need of external energy sources. it has a pollution free systems, and facilities with the use of renewable energy sources through solar and geothermal energy. The glass roof of the plaza provides natural light to the interior, reducing the needs of artificial lights [1].

the steel cloud form at the center, but its space its composed well to have a spatial hierarchy, and separation between one space with another that has a different function. As the lecture has mentioned, that the practice is now shifting from composing into generating, this building is a good example in between those shift. Furthermore, the idea of sustainability is also implemented here. Knowing that China is tackling on their pollution issues, this building is a step closer in achieving a sustainable environments. The MOCAPE can also be a good example of the shift of focus in architectural practice, like Fry [2] has mentioned previously.

I think MOCAPE is one of a good example that balances both composition and generation. The structure is obviously parametrically designed and optimized, using a series of algorithm, as well as

[1] Architizer, ‘Museum of Contemporary Art & Planning Exhibition (Mocape)’, Architizer, (2016) <http://architizer.com/projects/museum-ofcontemporary-art-planning-exhibition/>. [2] Tony Fry, ‘Introduction’, in Design Futuring: Sustainability, Ethics and New Practice (Berg: Oxford, 2008), pp. 1-16. 22

Courtesey of Duccio Malagamba

Courtesey of Markus Pillhofer

Courtesey of Duccio Malagamba

0.3.2 Elbphilharmonie Concert Hall Location: Hamburg, Germany Date finished: 2017 Architect: Herzog & DeMeuron

The most interesting part of the concert hall lies in the interior. The walls are made of 10000 panels that consist of parametrically designed cells, performs as an acoustic agent to disperse the noise. Herzog and DeMeuron, with a help of acousting engineer, Yasuhisa Toyota created a single cell for the surface of the wall in the concert hall, and iterate it throughout the panels using algorithm [1]. Each panel then is fabricated using a CNC Router, which shows the computation process of creating the details from scratch. The result is a stunning coral-like form that performs one of the “perfect” acoustic in the world [2]. Brady Peters’ reading [3] also mentioned Herzog and DeMeuron as the architects that also use algorithm in designing their buidling. What I found the most spectacular is this, because the architects used algorithm to find forms for the functionality, instead of for the overal forms of the building. This shows the potential of computation design that Kalay [4] has mentioned. The panels

are algorithmically fabricated, showing that the construction process of these panels are quicker than the conventional craftmanship. This concert hall shows the potential of computational design. It also opens a possibility of what would be the use of computation design in the future. Herzog and DeMeuron, being one of the architects that embrace computation design, could be one of the role model for future designing, that we are moving towards to. Perhaps, this could also be an opening to a path where algorithm is not just finding forms and structure, but also detail performances as this concert hall has shown.

[1] Liz Stinson, ‘What Happens When Algorithms Design a Concert Hall? The Stunning Elbphilharmonie’, Wired, (2017) <https://www.wired. com/2017/01/happens-algorithms-design-concert-hall-stunning-elbphilharmonie>. [2] Eddie Fu, ‘The World’s First “Acoustically Perfect” Concert Hall Opens in Germany’2017) <http://consequenceofsound.net/2017/01/ the-worlds-first-acoustically-perfect-concert-hall-opens-in-germany/>. [3] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), 08-15. [4] Yehuda E. Kalay, ‘Introduction’, in Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge; MA: MIT Press, 2004), pp. 5-25. 24

Courtesey of Iwan Baan

Image on the right shows the acoustic panels that is parametrically design to perormed an acoustic performance of the concert hall Courtesey of Peuckert 25

0.4 Conclusion To conclude, the future in design is at our hand. From the examples that have been addressed, it is clear that we are currently shifting our architectural practice. We are now focusing on our environmental concern in the modern era, started from Ken Yeangâ&#x20AC;&#x2122;s, to the computational design to suffice the environmental performance like MOCAPE, we can now envision the future design practice, in which we are shifting to the concern the sustainability of the future. This path is already clear for us where we might go. The current practice also focuses on the efficiency of manpower, by using computation design, there would be a lot of possibilities achieved by architect/engineer hybrids and architectural firms Computation design is perhaps one possibility of the future. It strives architects to evolve in their current way of thinking, through learning the language of design computation, which is the algorithm. This specific skill, is perhaps useful in the current time where technology is evolving quickly for our future. The language aids architects and future designers to quickly generate form through a series of algorithm and provides the best possible outcome from the generated forms. Other than forms, the computation design architectural practice may provide an algorithm to aid the performance of the building, such as Herzog and DeMeuronâ&#x20AC;&#x2122;s Elbphilharmonie concert hall. These possibilities are what is already seen. I believe there would be so much potential for the design computation than just what we have cultivated now.

0.5 Learning Outcomes The readings and lecture give me an insight of what is computation and algorithmic design. They also give me an insight on how are the architects moving in relation to time and the evolving technological tools that aids the design making process. As a future architect, now i can envision on what will be my field, what will be the challenge and practices on designing architecture, and sustainable performance that is to be the focus of the practice. I believe that this is a future of architecture. However, learning that forms are now generated, there would be a paradigm that architects are â&#x20AC;&#x153;a group of people that choose formsâ&#x20AC;? instead of generating forms form their creative thinking. As such paradigm may exist, I fear that architects would lose their intimacy with the architecture. In other words, architecture could lose its soul, the implicit value that is poured by the architects into their buildings. I fear that through this paradigm, without any dialectical practice and balance between generative computation design and architectural practice, engineers will rise, while architects asleep. As such, architecture would be just series of parametrical forms, without any implicit value poured by the architects. To conclude, the knowledge that I have received now may prepare me for the future practice that I will face. From the objection I have made, I know that I need to be in the balance between the future and traditional practice of architecture. Perhaps, the prominent role model in such path would be Le Corbusier, who successfully integrated art and engineering in the midst of the debate between architecture and engineering.

0.6 Algorithmic Sketches 28

The Caterpillar The first algorithmic sketch that I’d like to show is the combination of making a squarical arc through the use of polyline, exruded to make a cuvilinear pipe form, and the practice of using orient component to design the pointy structure. The algorithm is quite simple, it’s an application of synthesizing the commands that have been learned through the videos. Of all forms, I chose this definition because it also practices my design idea and thinking, how my idea is transformed through a series of algorithm that I made. The idea of this form is taken from the Gypsy Moth Caterpillar (Lymantria dispar dispar). The caterpillar is famous for its poisonous defensive body mechanism. The caterpillar’s hairs contain histamine, which can cause a rash to human skin [1]. I took the idea of being defensive as the spiky edge of my sketch, creating a somewhat painful expression for the architecture. Furthermore, I practiced my algorithmic definition by following the form of the caterpillar. The curvilinear grid frame gives the rigidity and movement of the whole form. The definition is simple, it’s only a series of curves and arcs, lofted and then connected by polylines, instead of interpolation.

[1] UPI, ‘Gypsy Moth Larva Can Cause a Rash’, The New York Times 1982.

Lymantria dispar dispar

Bird Nest The design is a simple definition of circles and arcs. It is inspired by Herzog & Demeuronâ&#x20AC;&#x2122;s Bird Nest olympic Stadium, Beijing, China. The form is quite straightforward, a deformed donut that, created through a series of retangular pipe surrounding the structure. The definition includes 3 different closed curves, a 3 point Arc component, point interpolation and matrix flip, and rectangular piping loft. It is an easy and quick sketches. Compare to other trials, playing with curvilinear structures are easier and faster. The sketch is providing an insight and practice on the current idea of lightweight, how curvilinear structure can create lightweight architecture.

Bird Nest by Herzog and Demeuron

Bowl/Anemone The design has a similar principle with mathematical form finding in construction practice. The original form was 2 circles that have divided points, connected to one another and then twisted using a shift list command. The form is straightforward, and provide an exploration on how a straight line can creates a curvilinear form of the bowl. The anemone has more complex definition, it includes planar re-orientation to make it directs to the center. Then the component Arc SED is added to the algorithm, in order to make a curvilinear form that looks like it blooms out. Lastly, a rectangular pipe is added through lofting to make the form rigid. This exploration gives me an insight on how to create a lightweight architecture later on, using series of lines to create a structurally sound form, or perhaps, a reciprocal structure

0.7 Bibliography 36

“Definition of ‘Algorithm’.” In. 1999. The MIT Encyclopedia of the Cognitive Sciences, edited by Robert A. Wilson and Frank C. Keil, 11, 12. London: MIT Press. Architizer. 2016. ‘Museum of Contemporary Art & Planning Exhibition (MOCAPE)’, Architizer. http://architizer.com/projects/museum-of-contemporary-art-planning-exhibition/. Barrie, Andrews. 2013. ‘Shigeru Ban and the Cardboard Cathedral’, ArchitectureAU. http://architectureau.com/articles/christchurch-transitional-cardboard-cathedral-1/ Busta, Hallie. 2015. ‘ICD/ITKE Research Pavilion’, Architect. http://www.architectmagazine.com/project-gallery/icd-itke-2014-2015-research-pavilion_o. Douglass-Jaimes, David. 2015. ‘AD Classics: Menara Mesiniaga / T.R. Hamzah & Yeang Sdn. Bhd.’, Archdaily. http://www.archdaily. com/774098/ad-classics-menara-mesiniaga-t-r-hamzah-and-yeang-sdn-bhd Dunne, Anthony, and Fiona Raby. 2016. ‘Introduction; Critical Design.’ in, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press). Fry, Tony. 2008. ‘Introduction.’ in, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg). Fu, Eddie. 2017. ‘The world’s first “acoustically perfect” concert hall opens in Germany’. http://consequenceofsound.net/2017/01/theworlds-first-acoustically-perfect-concert-hall-opens-in-germany/. Hadid, Zaha. 2013. ‘The Serpentine Sackler Gallery / Zaha Hadid Architects’, ArchDaily. http://www.archdaily.com/433507/the-serpentine-sackler-gallery-zaha-hadid-architects. Hamzah, T. R., and Ken Yeang. 2010. ‘Menara Mesiniaga Features Bioclimatics’. http://www.solaripedia.com/13/302/Menara+Mesiniaga+Features+Bioclimatics+%28Malaysia%29.html Kalay, Yehuda E. 2004. ‘Introduction.’ in, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (MIT Press: Cambridge; MA). Oxman, Rivka, and Robert Oxman. 2014. ‘Introduction.’ in Rivka Oxman and Robert Oxman (eds.), Theories of the Digital in Architecture (Routledge: London; New York). Peters, Brady. 2013. ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83: 08-15. Rosenfield, Karissa. 2013. ‘Newly Released Photos of Shigeru Ban’s Cardboard Cathedral in New Zealand’, Archdaily. http://www.archdaily.com/413224/shigeru-ban-completes-cardboard-cathedral-in-new-zealand Stinson, Liz. 2017. ‘What Happens When Algorithms Design a Concert Hall? The Stunning Elbphilharmonie’, Wired. https://www.wired. com/2017/01/happens-algorithms-design-concert-hall-stunning-elbphilharmonie. Stuttgart, ICD Institute of University of. 2015. ‘ICD/ITKE Research Pavilion 2014-2015’. http://icd.uni-stuttgart.de/?p=12965. UPI. 1982. ‘GYPSY MOTH LARVA CAN CAUSE A RASH’, The New York Times.

Design Criteria 38

0.1 Research Field 40

Pattern What is Pattern? Pattern, described by Kohls [1], is everything that is in this world that recurs. In other words, pattern is a series of an individual that creates a the whole. At the same time, it is abstract and concrete, theoretical and practical, liberating and constraining, particular and universal, analytical and whole. It is a paradoxical relationship between an individual and the whole. Patterns can be found in almost every practice, it is a fundamental element that shapes the current society [1]. Second definition of pattern is perhaps cited and defined by the renowned architectural theorist, Christopher Alexander. Alexander stated that pattern describes a problem which occurs recursively in this world, in such a way that a solution to the particular problem can be used, indefinitely without ever doing the process of problem solving twice [2]. Each pattern has the same format, and it is different for every problem that is addressed. In conclusion, it could be said that pattern is a model that is used recursively to create a whole of a system. In other words, a pattern is a universal language that is applied in the practices of the world. Patterns exists within science, sports, arts, history and time, space, culture, nature, laws, and even lifestyles. It is a set of principles that “codifies human interactions with the built environments” [3]. The focus in this section of the journal will discuss further on patternisation in design that has been applied by some architects around the world.

[1] Christian Kohls, ‘The Theories of Design Patterns and Their Practical Implications Exemplified for E-Learning Patterns’ (Catholic University of Eichstätt-Ingolstadt, 2013), p. 324. [2] Christopher Alexander, Sara Ishikawa, Murray Silverstein, Max Jacobson, Ingrid Fiksdahl-King, and Shlomo Angel, A Pattern Language. ed. by Christopher Alexander (New York: Oxford University Press, 1977). [3] Linda Cheng, ‘About Face: William Barak Apartments’, ArchitectureAU, (2015) <http://architectureau.com/articles/william-barakapartments/> [Accessed 24 March 2017]. 41

Patterns in Architectural design From here, I shall discuss the use of patterns in architectural practice, by using 2 examples, the first shall be a traditional architecture, that is constructed using conventional way, or perhaps an ancient way, second is a contemporary example of patterns and how parametric design could achieve such form.

Historical Example: Sheikh Loftollah Mosque Islamic architecture is famous for its mosaic pattern decoration throughout the building. An example that is taken is the Sheikh Loftollah Mosque, located in the eastern side of Naghsh-i Jahan Square, Isfahan, Iran. It was constructed between 1590-1602 by Shah Abbas the first. The mosque was firstly used for royal ceremonies, Islamic ritual, hospitals, and baths [1]. The image on the right is a picture of the ceiling in the mosque. In there we can see an element or a set of elements that is repeated and organized radially to creat a beautiful mosaic pattern. It’s a relationship of the whole and a unit, in which the unit defines the whole. The radial mosaic pattern consists of a leaf-looking motif and a curvilinear form that resembles a branch that grows radially. in the middle we can see a geometrical form of an 8 sided star. Here is one example of ancient architectural practices that used patterns to create decorations. Many other architects use this technique to create their design, some of them are Augustus Pugin and William Morris in Arts and Crafts movement, some are unnamed architects of Greco-Romanic era, some are modernists such as Corbusier and Louis Sullivan, and many more.

[1] Islamic Arts, ‘Sheikh Lutf Allah Mosque’2012) <http://islamic-arts.org/2012/sheikh-lutf-allah-mosque/> [Accessed 24 March 2017].

Contemporary Example: ARM Portrait Building Here we can see an example that is built in Melbourne. The Swanston Square is an apartment located in 551 Swanston Street, Melbourne, VIC, 3000. The apartment is designed by ARM, an American architectural firm.

Conceptual Design Implications The building exhibits the face of the famous Aboriginal hero, William Barak. Howard Raggatt, the director of ARM, mentioned that the idea of putting a face of the hero to face the south is to make a relationship with the shrine of rememberance. In other words, the design intention was to make the building as if it is facing the shrine. From the shrine the face of William Barak will be clear [1]. The architects used a parametrical design of image sampling to create the face. They used a xylographic technique, and image sampled the face of William Barak into a line drawing, that is later to be fabricated using 3D molded panels for the balustrade. The pattern that is form will be interpreted by human eyes as a portrait from distance [1].

Opportunities I always thought that patterning in image sampling is using one geometrical element that is repeated throughout a grid to create an image. However, this building proves me that linear forms can be used to create an image sampling. After a further contemplation, now I remembered that many contemporary sketches in the world of social media, for example instagram, use straight lines to sample an image, whether it is a hand, or a face of a person. Nevertheless, this gives me an opportunity to explore the possibility of parametric design in image sampling using linear forms

Fabrication issues However, i believe that there would be a fabrication issue. Using a continuous linear form would need a large material to be fabricated on. As such, in a case of this building, transportation would be ver much considered. Should the fabrication be divided into several sequence or steps, it would be a time consuming process and the connection between each lines has to be considered. Furthermore, turning away from the building, model making in this project would account human error. High precision skills are needed to arrange parallel lines as such. Human error that is taken to the account may have a non uniform spacing between each line. As such, a good organisational skill and precision is needed.

[1] Linda Cheng, â&#x20AC;&#x2DC;About Face: William Barak Apartmentsâ&#x20AC;&#x2122;, ArchitectureAU, (2015) <http://architectureau.com/articles/william-barakapartments/> [Accessed 24 March 2017].

0.2 Case Study 1.0 46

De Young Museum Location: San Fransisco, USA Date finished: 2005 Architect: Herzog & DeMeuron

In the process of creating these panels, the architects worked with Zahner software specialists to develop a system that would create a perforated dimple and holes as such. The idea behind this is to create a light passing through the steel resembling the pattern of light passing through the trees. This was actually the first iteration of the Zahner Interpretive Relational Algorithmic Process (ZIRATM Process) [1]. The perforated copper panels are parametrically designed by seperating 2 different circular form, in which one would be the holes and the other become the dimples. By doing this, 2 circles have to be treated differently using 2 different algorithms. The form is found using extrusion and intrusion, image sampling and resizing to create such grid with lighting effect.

The current case study will study the definition of the process of algorithm that would create such forms in the design. The process includes form finding, analytical and pragmatic exploration of the possibilities of the form. These panels perhaps may give me an insight on how would i design my final project. It would inspire me to create patterned holes as random as such to resemble my idea.

[1] Zahner, â&#x20AC;&#x2DC;De Young Museumâ&#x20AC;&#x2122;2012) <http://www.azahner.com/portfolio/de-young>.

Perforations (P)

Changing perforation quantity from 30x30 to 64x47

Curve Extrusion with change (1) reverse vector and expression of (X*2+0.5)2

Switched the image sampling

Project Vector extrusion

Changing Dimples quantity from 15x10 to 30x 26

Changed the size of the circles (bottom from 0.254 to 0.294, top from 0.080 to 0.165)

Switched the image sampling with previous setting

Reversed extrusion

Combination 1

Combination 2

Combination 3

Combination 4

Surfacing (S)

Others (O)

Add (A)

Dimples (D)

Itera

Closed lofting curves in the dimples

Lofting Contoured surface grafted curves

Lofting Contoured surface, flattened curves

Arc joining the dimples and perforations

Lofted Surface

Sphere surface

Contour Surface

Point reference closest to surface

ations

Changed Image sample and circle to square

Point Charge added

Voronoi with cull list pattern, radius set by the given expression

Voronoi witih Random reduce

Changed Image sample and circle to square

Z Vector Point Charge added

changing the domain from -1 to 1 to -2 to 1

Twisted piping, similar technique with anemone algorithmic sketch

Combination 5

Combination 6 (Perforation lifted slightly)

Combination 7

Combination 8

Point reference on populate 2D

Circles divided into points and then triangulated with delaunay edges

Dimplesâ&#x20AC;&#x2122; surface divided and interpolated

Lofted flipped interpolated arc

0.2.1 Exploration Sketches 49

0.2.2 Species Selection

The Exploration Sketches are conducted to explore the possibilities of the existing algorithm, based on the buildings created by professional architects. The species that are generated are chosen through a selection criteria, filtering the 4 prominent forms that are selected based on the parameter given in the criteria.

Selection Criteria The selection criteria chosen is that to explore 4 different tectonics that response to the brief that requires a lightweight performance architecture, that are able to be parametrically designed using patternisation and image sampling. The species that are chosen are: A4, representing Mass from light individiual parts, how pattern can be algorithmically designed to become a mass form. S2, representing the ability of patternisation of Brep components, however, as the algorithm is explored further, Mesh faces are not able to be patterned, as it already has a triangulated tessellation. P8/O7/O8, representing curvilinear forms, generated using patterns that are much random, complex, and organic. O6 represents the ability of the pattern to be placed within randomized placed points using populate geometry component.

4 Main Tectonics Exploration

A4-Mass

S2-Surface/Plane

2 Secondary forms

O7-Curvilinear Delaunay

O8-Curvilinear Interpolation

P8-Curves/Lines

O6-Points

0.3 Case Study 2 52

VoltaDOM Location: MIT, Massachusetts, USA Date finished: 2011 Architect: Skylar Tibbits

Created by MIT’s lecturer, Skylar Tibbits, VoltaDOM is a paramateric structure based architecture that is created for MIT’s 150th anniversary celebration and FAST Arts Festival. It is located in the corridor that connects from building 56 to 66 on the campuse. The structure is created to be the reminiscent of the great vaulted buildings of Gothic cathedrals. Vaulting occurs through compressed panels that creates an arc, and an installed oculi to incorporate light and views with the surrounding. [1]

the arched surface for the panels to sit on. Thirdly is to divide the surface and recreate the paneling directly on the surface. since using kangaroo is almost impossible to create a compressive structure on each panel, the most probable shape to be used is cone. However, for the sake of testing, the pattern would be uniform throughout the arch without any random patternisation.

The script in grasshopper would be much complicated. The each panel that is made is different from one another, due to the compressive force of the material. The patterning in the dome is randomed. To foreshadow the steps, the first thing that I need to do is to test the panelisation with the oculi. Second step would be creating

[1] SJET, ‘VoltaDOM: MIT 2011’, (2011) <http://sjet.us/MIT_VOLTADOM.html> [Accessed 16 April 2017].

0.3.1 Reverse Engineering Trial 1-VoltaDOM

2.1 Surface railing make rails from quad panels - not a proper arc

1. Surface Creation

Creating lofted surface using series of arc

2. Quad Panels

Creating rectangular panel using Lunchbox plugin component

2.2.1 Arc for railings

Trimming the average spatial center of the cone using plane-Brep trim component at the center

3. Cone on Surface

Create cone with the base of the center point of each panel

4. Oculi creation

5. Splitting cones Unable to trim the cones from one another, perhaps it is caused by the placement of the cones which exist in one list. The form would be the same with the previous one -Using boolean union which worked on the trial cone now produce â&#x20AC;&#x153;empty setâ&#x20AC;?

2.2.2 Sum surface

Rendered image

Unable to sum surface of the rails

Rendered image

0.3.2 Case Study 2 - Trial 2 56

ICD/ITKE 2011 Pavilion Location: Stuttgart, Germany Date finished: 2011 Architect: University of Stuttgart

The pavilion explores the integration of biological system and structures and architectural design, resulting in such tessellation structure. This project focuses on the adaptibility and performance of the form due to the non-planarized panels in the biological fom. As such, robotics, computation, and optimisation is needed to enable the constructibility of the material. [1]

since in reality, the whole structure has planarized panels, meanwhile in grasshopper each panel might not be planar, and as such, tessellation might not be conducted.

The form, tessellation and panelisation express the logic of algorithm behind it.The need of precision and structural optimisation suggest that the whole architecture is created parametrically. To reverse engineer such structure, I need to create the overal form at first, then panelisation using hexagrid to create hexagonal tessellation on the structure. further optimisation might be needed

[1] University of Stuttgart, â&#x20AC;&#x2DC;ICD/ITKE Research Pavilion 2011â&#x20AC;&#x2122;, (2011) <http://icd.uni-stuttgart.de/?p=6553> [Accessed 16 April 2017].

0.3.2 Reverse Engineering Trial 2-ICD/ITKE 2011 Research Pavilion

1. Surface Creation

2. Contour

3. Hexagrid

Creating a hemisphere by trimming a sphere into 2

Contour the hemisphere to avoidhexagrid centralisation at the apex of the sphere

Creating hexagonal panel from the lofted contours, by using Lunchbox command

2.1 Delaunay triangulation

I tried to make hexagrid using delaunay, then using a cull pattern to create the hexagon, however, upon urther inspection, I found that the lacement of the points are too structured to create a hexagrid pattern using delaunay triangulation

2.2 Hexagrid projection I tried to project a hexagrid into the existing surface to create a surface hexagrid, however, as it can be seen from the image on the left, there would be uneven length of hexagrid. As a result, it is not precisely a tessellated panels.

4. Optimisation

5. Extrude point

6. Trimming

Form optimisation using Kangaroo plugins

Extrude the panels into a single point to create chamfering of the 3D panels

Trim at the average point of the extruded polysurface

Hexagrid extract singular curve

Vertices/contol point

Edge vertices Spring component

Planarize

Curve Pull

Kangaroo Solver Polylines Boundary Surface Process of using the Kangaroo Plugins Rendered image 59

0.4 Technique Development 60

The purpose of this section of the journal is simlar with the exploration sketches on Part B-0.2.1. The iterations would change the project drastically until it is not recognizeable, in which the iterations would be a totally different product than the original pavilion. This clearly shows the infinite possibilities of generative design, in which has been discussed in Part A-0.3. After further reflection and contemplation towards the ethics of generative design, it is clear to me that generative process of computational design is not a hinderance to creativity, rather, a different form of creativity. The creativity of the generative design lies on the logical process behind the form. Moreover, after much explorations on the iteration, the logic behind the process is also the creative process of design in pragmatic aproach. Using different components, with trials and errors, the creativity in the traditional design process is integral with the logical process of computational design. Connecting to the overal purpose of this project, the concept underlies the ability of panelling and patternisation of the design to create a lightweight architecture, precedented from nature. In case study 1, which is the De Young Museum, Herzog and DeMeuronâ&#x20AC;&#x2122;s patterns resemble the light coming through the leaves of trees. On case study 2, the University of Stuttgart researched on how bio-structuring can be synthesized with architecture, which creates panelisation like the 2011 research pavilion. The idea and purpose of the development is to create a synthesis of both design in which could be realized in the overal project.

The generated forms would be integral with the nature and biomorphology of nature. Refinement would be needed to synthesize both case study to create a new design. The design should expressed in order to respond to the brief. The site is the CERES central habitat, in which is the central site and playground of the whole area. It has a small podium, a shed, and an open playground for the young users to play. As such, a lightweight architecture to shelter them from the rain is needed. I am interested with the siteâ&#x20AC;&#x2122;s cultural exhibition on the global village, however, the central habitat is more of a playground on the site. The habitat has an interesting idea, in which the users play on the open area, to have an experience of becoming an animal, scourging throughout the land. The technique development aims to deliver the design that supply the needs of shelter, a wild mutlicultural education patternisation through a biomimicral form.

0.4.1 Technique Development

Reflection of Nature Panelisation

Hexagrid projection

Random reduced smooth Delaunay mesh, triangulation by weaverbird

Voronoi3D intersection

Random reduced WeaverbirdDelaunay mesh, smoothen

Optimized hexagrid

Reduced optimized hexagrid

Populate geometry polylines

Interpolate pipe

Optimized Diamond panel

Unoptimized random quad panel

Optimized staggered quad panel

Optimized quad panel

The surface exploration includes meshes, planarisation, and panelisation. Of all surfacing, the hexagonal panelisation and un/staggered quad panelisations are able to create a shell structure. Mesh is using Weaverbird plugins, although it has a potential to re-create a design like De Young museum, it limits me to create a patternisation on the surface. Form Optimisation using Kangaroo

Patternisation

Patterning based on case study1

Second image sampler

Transform box

Bezier curve graph mapper on height of surface box

Mirrored surface of triangular flaps

Weaverbirdâ&#x20AC;&#x2122;s dodecahedron, pattern 1, based on interpolated line division

Holed surface patternisation

Perlin curve mapper used

Sphere, size patterned using second Closed curve extrustion on oriented image sampling lines

Weaverbirdâ&#x20AC;&#x2122;s dodecahedron, increased numbers of line division

Spherical smooth mesh patternisation, based on second image sampling

The patternisation aims to search the potential and the pattern of nature, and how it fits with the panels. So far, tessellation panelling and patternisation are 2 different things that are seperated and almost impossible to integrate. The holed surface and the transform box are perhaps the closest ones to the final patternisation, which is coherent with the purpose of the design Other iteration: surface polar array 63

0.4.1.1 Idea Development

After a further contemplation, and revisiting the ideas that are available, I decide to rearranged the idea into something more connected to one another. Previously I wanted to use the nature precedent for the overal form, using turtle shell, However, after a further contemplation, I have decided to switch the massing to be preceded from culture, and the patterns from the nature. The reason is that I have found that Nature has more potential in patternisation, it’s random, almost unidentifiable. Many formative architects such as Ruskin and Picturesques architect found nature to be both irrational, assymetrical, however it has a spiritual quality, in which is sublime, but also uplifting. Precedented from Herzog and DeMeuron’s approach on DeYoung Museum, I have concluded that patternisation through nature has a better potential than cultural patternisation. Cultural aspect that I am trying to express is on the structure. I have decided to exhibit the lightweight structure on traditional Indonesian house, in relation to global village’s cultural exhibition. I have devided to develop a technique on west Sumatran’s traditional house, Rumah Gadang, as a mass form of my design. The rooftop design of the house is unique, almost able to be recreated parametrically and designed using membranic structure and catenaries.

Pagaruyung Palace, Batusangkar, West Sumatra, Indonesia. This house is an example, perhaps a more pompous version of the Gadang house, as it is built for a royal family

Roof Prototyping Simplified version of the Gadang roof housing. I tried to replicate the roof structure, although the real structure is quite exagerated in terms of the end tip of the roof.

Lofted surface of the roof. The main problem of the surface is that the planarity problem. the surface is not planar, therefore, optimisation is needed to make panelisation possible

Another version of the lofted surface, in which the surface is developable. The whole surface is divided into 3 to create a more flexible surface. However, it still needs to be optimized.

0.4.1.2 Technique Development 2

Patterns of Nature Panelisation

Voronoi Mesh

Parallelogram panel

Triangular panel

Voronoi intersect

Mesh Thickened

Quad Panel

Hexagrid mesh

Delaunay Mesh

Weaverbird loop, random reduce

Contour projection panel

contour thickened

Piping quad panels

Piping triangulated panels

Structural

Cull paterned thickened mesh

Piping mesh lines

Patternisation-second image sampling

e circle projection on triangular panels

circle projection on quad panels

Sphere with tiled image sampling

circle projection on quad panels with tiled image sampling

3-sided pyramid with box morph

Perlin graph with (x*y)2/6 expression for height

Retangular flaps using box morph

Flaps mirror surface

Populate-polylines

Sphere on polyline division

Increased the division of the polylines

Panelisation is to explore which geometry is the most suitable for the tessellated panneling,. So far, Lunchbox panelling components have been the optimum geometry, ranging between triangular, quad, or parallelogram panels. Hexagrid mesh and voronoi mesh is possible, since is still maintain the original shape, however it willbe difficult to fabricate. Structural explores the structure of the roof for fabrication, and how it supports the panelisation. So far,contouring is almost impossible. Mesh, quad, and triangulation piping is plausible, and need more refinement to provide a surface for the panels.

Patterning explores the possibility of how the pattern would look like. It needs to be refined to make all plausible, however, the tessellation through box morph could be sid to be the most successful ones. Image sampling should be tiled to provide a random sized holes for the surfacing. However, this technique faces a problem since the surfaces are divided into panels, and it acts individually. as such, it would create an overlapping sphere (in this case) at the edge of the panel, in which could be a problem in real life situation. Unrolling geometry is preferable to explore this technique

0.4.2 Species Selection

The technique development that is conducted is to search, explore, and develop the design intention and expression parametrically. It aids to visualize the final proposal of the design and aids to move the design into a more tangible argument. Out of 50 forms that are generated, 4 will be chosen to represent the best form for the design.

Selection Criteria The selection criteria chosen is that to explore the forms and patternisation that is close to the final design. The chosen forms are: Patterned holed surface (Sample 1), Box morph rectangular flaps (Sample 2), Random reduced weaverbird (Sample 3), and Tiled image sampling patternisation (Sample 4). These are the iterations, forms and ideas that are plausible for the final proposal. Perhaps, in the end, all would be integral. The flaps are interesting because its form can blocked the sun partially, and perhaps, in the real professional practice, the flaps are interactive. The weaverbird may give a natural holed pattern by reducing the mesh face then usiing the weaverbird loop to increase the mesh face. The tiled image sampler gives a more organized random pattern on a surface. This sample has more potential than the weavervird because weaverbird looping may reduce the integrity of the form. The holed surface provides a visualization on the panels and how would the holes look on curved surface. The samples provide foresight on the final proposal. It provides exploration, possibilities and hindisght on the final design. Some species are more plausible to be the final argument, and further contemplation and devision maing is needed.

Sample 1

Sample 2

Sample 3

Sample 4

Other samples plausible

Clamped tiling patternisation

Tessellated 3sided pyramids on perlin graph mapper

Tessellated triangular fins

Hexagonal mesh

Triangulated structure pipe 69

0.5 Protoyping 70

At this stage, I need to learn how to fabricate materials and design parts at the fabrication lab. Although it is now compulsory, it is necessary for me to learn these skills. The most probable material for fabrication is the MDF, in which is why I used structural framing and panelisation is used.

The prototyping that is conducted includes an exploration of materiality through triangular tessallation, perforated holes and lighting, and structural frames, concerning the proposed form as a roofframe structure.

The prototype would provide a test fabrication and model making to test the and record any failure or any other possibilities. It provides a hindsight to the fabrication process for the final design. A special consideration and treatment is needed to the definition to provide a margin for the latter farbication. Connections, thickness, and planarity test is needed in order to successfully fabricate the model. Prototyping would includes materiality testing, based on the technique that is developed and analysed, also to test the materiality and planarity problem of the form generated in the definition.

0.5.1 Testing Manual Tessellation

The current prototyping is using a manual labour, in which a traditional process of model making. The materials used are a 5mm whiteboard, tested to be tessellated. I tried to follow the computational method of laying out and labeling to create a systematic tessellation. This technique of model making of tessallation is flexible, because the model would be instantly carved. The junction can be made directly, therefore, no need of algorithmic process of designing. The panels are glued together using a glue gun. The glue is only for a demonstration . The advantage of this technique is that its flexibility of fabrication, which could change the form easily, and no need of an algorithmic design process. However, this technique is not precise, in which a human error would be considered as a mistake. inaccurate could create a messy and unclean junction and panelling, and also miscalculation on creating the tapered joints between each panel. Moreover, this process and technique would take too much time and almost impossible if there is more than 100 panels, if each panel has to be made manually.

Form Tracing

Tapering joints

Label and cut

Joining panels

Cutting panels

Tessallation

Messy and inaccurate calculation and joining of the panels are one consideration to not use this fabrication technique for tessallation 73

Manual Structural Panelling This technique includes how the panels work together should a roof-like structure is built. All is done manually by hands an the panels, which are exhibited here are to represents the manual tessellation that is built previously. At this stage, the panels are dependent to the structure, so the panels could sit on it. As such, this would be a disadvantage to the tessellated panels. One disadvantage of manual structuring is the account of human error in which I have made a wrong tapering of the balsa wood.

This image shows the materiality of the foamboard. Its opaqueness is not preferable for the final proposal, however, the white color gives the impression of lightweightness

One of the disadvantage of manual labouring is the account of human error that I have made on the image on the left, in which I make the wrong face when tapering the edge for the structure

Manual Patternisation Manual patternisation takes much time. The technique only includes making holes on a traingulated panels on scored cardboard. The randomness is one advantage to be taken for this process, however, the time taken is ineffcient, therefore, fabrication using laser cut or CNC milling, if wooden material is used, is more preferable. The patternisation in here is then to be integrated with the structure of the roof. It fits perfectly and the panels are held up nicely. However, the dependency on the structure makes the form of the structure to be not flexible and all has to be dependent to one another. As such, the panelisation and patternisation could not be explored and expressed ideally

The light that passes through the perforated panels are corresponds to the design inention. The lighting is to simulate how the patterned panels would look like with the exposure of sunlight. Moreover, the patterns generated manually looks like the pattern of nature, in which stars. The patternisation could be developed more to resemble leaf transperency, similar to De Young museum. However, the structure hinders the freedom of panelisation, and it affects the design intention negatively by limiting the light and patternisation to express the random pattern of nature.

0.5.2 Reflection

In conclusion, for me manual work of model making is quicker, more free and more flexible. It is more pragmatic and practical approach, more cheap and obviously more organic. In one hand the advantage of creating the models by hand is its free range of materiality and technique to create the design. However, in the case such as these kinds of structure, which is panelisation and patternisation, manual work is not preferable. The amount of work needed is too much that it could be said, inefficient to create such structure by hand. Moreover, it is not prefereable since computation design needs a very high precision and accuracy in forming the element of the design. One inaccuracy could affect the whole structure. Another consideration of not using the manual model making is that its wastage, that is not sustainable, in a sense, and could provide an extra work post model making. Afterwards, machine fabrication would be an optimal or perhaps, ideal way to cut the elements, and later to be assamble on site.

Model Making wastage

0.5.3 Laser Cutting Success/Issues

The 3mm MDF board is used to explore the performance of the material and the possibility of the design. It is laser cut, there for, it is computationally fabricated. There are pros and cons on panelling through lasercutting. Compare to the manual prototypes, it is apparent that the laser cut technique is more efficient in terms of waste management, form fabrication, should there be more than 100 panels, and accuracy. However, there are cons to laser cutting. The first and upmost problem is that laser cut cannot cut any tapered forms, in which is needed in tessellation. Therefore, I tried to make a comparison between laser cutting and manual labour of cutting a white board and analyse the junction between 2 panels, and fill the gap in the junction with a glue gun. The glue gun affects the neatness of the model. Even though the junction is not really practical, it actually gives an interesting shadowline feature between panels. However, one consideration is that the connection and angled precision, needed to create such tessallation. Perhaps the solution of the tapering problem in laser cutting is through CNC router milling, which would computationally tapered the edge of the MDF board. However, due to time constrain, the CNC router technique is not conducted.

Other mechanization of tessellation is possible through framing, in which the panels are slotted into small frames that connects one panels to another.. As such, the ideal framing would be circular tubing since it has the most flexible form of panel jointing. However, due to a lack of ability in grasshopper, this would only be an idea that is not tested, but I am intrigued to test it later on. In terms of patternisation, it is obvious that laser cutting gain the upper hand in here. It preceisly cut the holes of the surfaces to create random perforation. Perhaps, different materiality is needed to give much more transluscent and lightweight material, since the 3.0 MDF would be heavy and therefore, structure needs to be optimum. At this stage, some of the perforated holes intersect one another. A further research, development and refinement on the definition is needed to create a more organized holes without any overlap.

0.5.3.1 Performance

To review, my idea was exhibiting the cultural value of one of the country that exists in the global village, while incorporating the rustic, organic quality of nature through materiality and patternisation that fulfill the needs of a lightweight shelter at the CERES central Habitat. In overall, the technique proposed is Tessallation and Perforation, as it has been discussed previously. In terms of the performance, both panels and perforation works correctly, corresponding to my idea. The panelisation works well with the form, and I really like the triangulated panels because it is the simplest form that could be applied to most structure. It is flexible and simple, and the relationship between homogenous and heterogenous is clear and concise.

more refinement. One refinement to be considered is the area coverage, needed at the site, because the form of the roof has a different area coverage than the site, therefore, an analysis of a site coverage is needed, because it affects the integrity of the form of the roof.

In terms of patternisation, it has been discussed that further refinement of the definition is needed, however due to time constrain, the holes are created as such. Even though, the performance of the perforation meets my criteria, in which a random patterned holes to let the light through into the space. I used a lamp near the structure and it creates a blurred circles at the bottom, as if oneâ&#x20AC;&#x2122;s in the forest. As such, I believe that this patternisation is a success, as I preceded it from my first case study, the De Young Museum by Herzog and DeMeuron. However, the idea of culture, in which i took theang House roof as the whole form of the tessallation, still needs

0.6 Design Proposal 84

This stage includes the proposal of the developed technique, through computation and several prototypes. The technique would be refined again and several prototypes are needed to test the materiality and constructibility of the material. The proposal is not the final design and it’s not the final design argument. More refinement will be made and perhaps the final form that is generated would differ from the prototypes. However, the technique will be the “grammar” or “language” to address the idea and argument that has been contemplated and developed.

The proposed technique would be patternisation, inspired by DeYoung Museum’s idea of sun perforation, and triangular tessellation, as the basic, simple form that is efficient, and flexible in creating other forms. Moreover, the simple quality of triangulation provides a more flexible space for the patternisation, and its flexibility could create a mass form based on triangular patterns and perforations. Further exploration and refinement is needed since there are some difficulties in the definition created. The final design proposal would be based on the interim presentation conducted in the tutorial

So far, the idea is still the same, exhibiting the cultural value of one of the country that exists in the global village, while incorporating the rustic, organic quality of nature through materiality and patternisation that fulfill the needs of a lightweight shelter at the CERES central Habitat. The breakdown of the idea would be the same, in which will be presented in the Interim presentation. The technique that is developed is to expressed these ideas, in which would be finalized in part C.

0.6.1 Site Analysis Site

: Central Habitat, CERES Community Environment Park

Location : Stewart St & Roberts St, Brunswick East VIC 3057 Info

: A non profit organisation aims to provide a center for education, community engagement, and collected ideas and participation for the better economic, social, and environmental sustainability.

Brief

: Design a shelter/shed at the site that expresses the lightweight performance of an architecture

The CERES Central Habitat is an open space in which children comes and have an exploration. The site states that the idea of the central habitat is to give an experience for the children to become one with the wild, their interaction with the site would represents animals such as echidna, bugs, and birds crawling around the ground. The site itself has a lot of utility, with a shed on the south for a resting place, a mini podium for public talk, and it is quite closed since thereâ&#x20AC;&#x2122;s an elevated quarry rock at the north of the site. Moreover, the topography of the site makes the site is closed almost a bowl-like form, with wind and sunlight as the weather agent of the site. The advantages of this site is that it is a multicultural area, it has a rustic and organic experience and forms, it is a playspace area, and the whole region is

facing the sunlight path, which allows sun from the north to come into the site. However, there are several disadvantages of the site, in which that the site needs of an open space, because it is surrounded by natural element and a quarry rock at the north of the site may reduce the openness of the site. Moreover, should the structure made covers the whole area, several structural point load is needed, as such, it may hinders the children to play freely. Another element of the nature is that the strong wind may affect the performance of the structure. Upon further investigation and inspection, the site can be utilized to emphasize and express the design intention of building a shed.

Site Plan 88

0.6.2 The Gadang Shed The final design is the expression of the collected ideas of culture, nature, and the needs of shed. In the interim presentation, the ideas presented are to exhibit an Indonesian culture, in which is the roof of the traditional Western Sumatran house, the Gadang house. The idea of a roof form is taken to respond the brief, which states the needs of a lightweight shelter on the CERES central habitat. Using the technique explored and devloped, I used the pattern of Nature to become the perforation of the shed, precedented from the DeYoung museum, I want to create a space that resembles the forest, which has the transperency of the trees, where light goes through the tree. The reason is to respond to the aims of the function of the site, in which the children played, to mimic the animals crawling around the earth.

the design, it completely resembles the traditional shed. in which the roof sits on a 4 elevated pillars, shown at the image on the left. The design sits on the front of the existing shed, to create a hierarchy of spaces, between the exterior, and the interior of the existing shade. It acts like a dialectical function of space in between the hierarchy of spaces. The image on the left is almost unproportional and not to scale, since i could not find the actual dimension and position of the columns

I utilized the siteâ&#x20AC;&#x2122;s element of the sunlight as the perforation since the site is facing to the north, and utilizing the columns existing in the site as the structure. The columns are interesting because when it is fused with

As it has been discussed previously, the technique used is the tessallation and patternisation. The patternisation is preceded from nature, as it has been mentioned before. The geometry used for the tessallation is triangulation. The reason is because of the flexibility and the simplicity of the triangular form in which does not require any planarity test and optimisation. As such, triangles are the best form to represent the relationship between the heterogenous and homogenous elements of tessellation technique. The traditional function of the shed is to provide a shelter for farmers to rest after working in the fields. I integrate this function into the design, in which the space functions as a shelter for children to rest, corresponding to the shed that juxtapose it. Furthermore, the incorporation of traditional elements are somehow creating a narrative integration between the idea of traditional and the contemporary. This also employ the potential of computation design that looks toward history and

culture, other than biomimicry. Moreover, the idea opens another possibility of design futuring in the practice of compuational design. In conclusion, the design integrates the idea of cultural form, while mimicking the random patterns of nature, that responds to the brief. Moreover, in a philosophical level, the design integrates the contrast, and connects the gap between history and contemporary, traditional and future. The design also integrate the developed technique of patternisation and triangular tessallation.

0.7 Learning Outcomes 94

The whole part B for me is that to learn a certain technique in creating a computation design and then develop it so it would be used for the final design.

idealism can be done at later days.

I think, this part is the process of interim design, or a sketch design, but focuses more on the computational skills and form generation in Grasshopper. I learned to sharpen my Grasshopper skill and algorithmic thinking process, I also learned how professionals used parametric design and generative design. I learned several plugins and how it helps the design.

I also learned that the creativity of the designer in using computational design is not diminisher, but infused with the logical logical process of algorithm. The creativity, form finding, and materiality are all integral with the process, especially in this Part B. The iterations, moreover, provides an infinite variation of forms that are generated, tested, and perhaps would be developed, in order to find the best suitable form that is based on our design argument.

I learned mostly on prototyping, in which is similar to sketch model, fabrication and laser cut, how the computer generated design is fabricated, and how this would help me in Part C, which is the final design process. I have learned about fabrication issues, testing, which costs a lot, junctioning, laying out, and materiality.

All in all, it is a realization for me, to open my views on computational design. This intrigued me to learn more about algorithmic design in the future. I learned the unconventional design process in computational design in this part, and perhaps, I would like to practice it more in the future.

I know that protoyping would need more than just 3-4 models, it would need more testing to find the optimal material, junction, and method of production, however, due to time constrains, such

0.8 Algorithmic Sketches 96

Weaverbird Thickened Frame 98

Weaverbird on Revolved Extrusion

100

Weaverbird Loop Division thickened edge

101

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Hexagrid Wave 103

Phyllotaxis Pattern

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