Joshua Christian_733315_Studio Air Journal Part A-B-C by Joshua Christian

AIR Algorithmic Journal

Joshua Christian 733315 Studio 14 Manuel Muehlbauer

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

CONTENT Introduction

0.4.2 Species Selection 0.5 Technique and Prototypes 0.5.1 Testing Part A: Conceptualization 0.5.2 Reflection 0.5.3 Laser Cutting 0.1 Design Futuring 0.5.3.1 Performance 0.1.1 Mesiniaga (IBM) Tower 0.6 Technique Proposal 0.1.2 Cardboard Cathedral 0.6.1 The Gadang Shed 0.2 Design Computation 0.7 Learning Outcomes 0.2.1 Serpentine Sackler Gallery 0.8 Algorithmic Sketches 0.2.2 ICD/ITKE 2014-2015 Pavilion Part C: Detailed Design 0.3 Composition and Generation 0.3.1 MOCAPE 0.1 Individual Concept Development 0.3.2 Elbphilharmonie 0.1.1 Part B Reflection 0.4 Conclusion 0.1.2 The 3 Ideas 0.5 Learning Outcomes 0.1.2.1 Site Synthesis 0.6 Appendix - Algorithm Sketches 0.1.2.2 Catenaries 0.1.2.3 Layered View Part B: Criteria Design 0.2 Prototypes 0.2.1 Materials 0.1 Research Field: 0.2.2.1 Footing 1 Patterning 0.2.2.2 Footing 2 0.2 Case Study 1: 0.2.3 Canopy Module De Young Museum 0.2.4 Polyhedral Connectors 0.2.1 Exploration Sketches 0.2.5 Floral Panels 0.2.2 Species selection 0.2.6 Cells 0.3 Case Study 2 0.3 A Life of Trees 0.3.1 VoltaDOM 0.3.1 Site and Brief 0.3.2ICD Itke Pavilion 2011 0.3.2 Design Abstract 0.4 Technique and Development 0.3.3 Design Process 0.4.1 Technique Development 0.3.3.1 Sun Analysis 0.4.1.1 Idea Development 0.3.4 Final Design Model 0.4.1.2 Technique 0.3.5 Reflection Development 0.4 Learning Outcomes 3

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 modeling 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.

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.

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. 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.

[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.

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]

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 this was seen as a breakthrough, and a radical innovation, since this is a pioneer, to the world of architecture. This building 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-classicsmenara-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.

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. It also acts as a reminder and critique to

[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/christchurch-transitional-cardboardcathedral-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.

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.

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.

[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 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.

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 be realized and constructed. The performance is also

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

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

“The ICD/ITKE Research Pavilion 201415 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].

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. It could be seen that the process

[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-2014-2015-research-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.

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’.

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 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

[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.

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].

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 the steel cloud form at the center, but its space its composed well to have a spatial hierarchy,

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

Courtesey of Duccio Malagamba

Courtesey of Markus Pillhofer

Courtesey of Duccio Malagamba

0.3.2 ELBPHILHARMONIE 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].

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.

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

[1] Liz Stinson, ‘What Happens When Algorithms Design a Concert Hall? The Stunning Elbphilharmonie’, Wired, (2017) <https://www.wired.com/2017/01/happensalgorithms-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-acousticallyperfect-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.

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

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

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

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-classicsmenara-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/the-worlds-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/shigeruban-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-barak-apartments/> [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 remembrance. 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 parametric 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 very 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-barak-apartments/> [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].

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.

The perforated copper panels are parametrically designed by separating 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.

[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

Others (O)

Add (A)

Dimples (D)

Iterati

Surfacing (S)

Closed lofting curves in the dimples

Lofted Surface

Lofting

Contoured grafted curves

Sphere surface

surface

Lofting

Contoured surface, flattened curves

Arc joining the dimples and perforations

Contour Surface

Point reference closest to surface

ions

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

Lofted flipped interpolated arc

Dimplesâ&#x20AC;&#x2122;

surface divided interpolated

and

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 individual 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 50

S2-Surface/Plane

2 Secondary forms

O7-Curvilinear Delaunay

O8-Curvilinear Interpolation

P8-Curves/Lines

O6-Points 51

0.3 CASE STUDY 2.0 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 campus. 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]

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 randomized. To foreshadow the steps, the first thing that I need to do is to test the panelization with the oculi. Second step would be creating 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.

[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;?

Rendered image

2.2.2 Sum surface

Unable to sum surface of the rails

Rendered image

0.3.2 CASE STUDY 2.0 - 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 adaptability and performance of the form due to the non-planarized panels in the biological form. As such, robotics, computation, and optimization is needed to enable the constructibility of the material. [1] The form, tessellation and panelization express the logic of algorithm behind it. The need of precision and structural optimization suggest that the whole architecture is created parametrically. To reverse engineer such structure, I need to create the overall form at first, then panelization using hexagrid to create hexagonal tessellation on the structure. Further optimization might be needed 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.

[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 avoid hexagrid centralization 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 further inspection, I found that the placement 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. Optimization

5. Extrude point

Form optimization using Kangaroo plugins

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

6. Trimming Trim at the average point of the extruded polysurface

Hexagrid

Extract singular curve

Vertices/contol point Edge vertices

Planarize

Spring component Curve Pull

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

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 recognizable, 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 hindrance 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 approach. Using different components, with trials and errors, the creativity in the traditional design process is integral with the logical process of computational design.

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 multicultural education patternisation through a biomimicral form.

Connecting to the overall purpose of this project, the concept underlies the ability of paneling 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 panelization 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 overall 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

0.4.1 TECHNIQUE DEVELOPMENT Panelisation

Reflection of Nature

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 panelization. Of all surfacing, the hexagonal panelization and un-staggered quad panelisations are able to create a shell structure. Mesh is using Weaverbird plug-ins, 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 Optimization 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 extrusion on oriented lines image sampling

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 paneling and patternisation are 2 different things that are separated 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 CONCEPT 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 Picturesque architect found nature to be both irrational, asymmetrical, 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 decided 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 membrane 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 exaggerated 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, optimization is needed to make panelisation possible

Another version of the lofted surface, in which the surface is develop-able. 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 Panelisation

Voronoi Mesh

Patterns of Nature

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

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

Rectangular flaps using box morph

Flaps mirror surface

Populate-polylines

Sphere on polyline division

Increased the division of the polylines

Panelization is to explore which geometry is the most suitable for the tessellated paneling,. So far, Lunchbox paneling 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 will be 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.

plausible, however, the tessellation through box morph could be said 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

Patterning explores the possibility of how the pattern would look like. It needs to be refined to make all 67

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 using 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 hindsight on the final design. Some species are more plausible to be the final argument, and further contemplation and decision making is needed.

Sample 1

Sample 2

Sample 3

Sample 4

Other plausible samples

Clamped tiling patternisation

Tessellated 3sided pyramids on perlin graph mapper

Tessellated triangular fins

Hexagonal mesh

Triangulated structure pipe 69

0.5 PROTOTYPING 70

At this stage, I need to learn how to fabricate materials and design parts at the fabrication lab. Although it is not 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 panelization is used. 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 fabrication. 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 analyzed, also to test the materiality and planarity problem of the form generated in the definition. The prototyping that is conducted includes an exploration of materiality through triangular tessellation, perforated holes and lighting, and structural frames, concerning the proposed form as a roof-frame structure.

0.5.1 MANUAL PROTOTYPE Manual Tessellation

The current prototyping is using a manual labour, in which a traditional process of model making. The materials used are a 5mm white-board, 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 tessellation 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 paneling, 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

Tessellation

Messy and inaccurate calculation and joining of the panels are one consideration to not use this fabrication technique for tessellation 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 foam-board. Its opaqueness is not preferable for the final proposal, however, the white color gives the lightweight impression

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 75

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 inefficient, 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 panelization and patternisation could not be explored and expressed ideally

The light that passes through the perforated panels are corresponds to the design intention. 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 transparency, 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 panelization 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 preferable 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 paneling through laser-cutting. 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 up-most 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 analyze 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 shadow line feature between panels. However, one consideration is that the connection and angled precision, needed to create such tessellation. 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 precisely cut the holes of the surfaces to create random perforation. Perhaps, different materiality is needed to give much more translucent 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 Tessellation and Perforation, as it has been discussed previously. In terms of the performance, both panels and perforation works correctly, corresponding to my idea. The panelization 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 homogeneous and heterogeneous is clear and concise.

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 the Gadang House roof as the whole form of the tessellation, still needs 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

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.

would be based on the interim presentation conducted in the tutorial.

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. 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. 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

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 organization 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.

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.

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.

Upon further investigation and inspection, the site can be utilized to emphasize and express the design intention of building a shed.

The advantages of this site is that it is a multicultural area, it has a rustic and organic experience and forms, it is a play space 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

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 developed, 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 transparency 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 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 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

As it has been discussed previously, the technique used is the tessellation and patternisation. The patternisation is preceded from nature, as it has been mentioned before. The geometry used for the tessellation 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 optimization. As such, triangles are the best form to represent the relationship between the heterogeneous and homogeneous 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 computational 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 tessellation.

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. 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 plug-ins and how it helps the design. 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, functioning, laying out, and materiality.

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. 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 prototyping 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 idealism can be done at later days. I also learned that the creativity of the designer in using computational design is not diminished, but infused with the logical

0.8 AlGORITHMIC SKETCHES 96

Weaverbird Thickened Frame 98

Weaverbird on Revolved Extrusion

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Weaverbird Loop Division on thickened edge

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Hexagrid Wave 103

Phyllotaxis Pattern

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DETAILED DESIGN 106

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0.1 INDIVIDUAL CONCEPT 108

Part C explains the process of the final design. It includes the conceptual process, prototypes, and the final design that is produced by the team specified in the studio. This section, is an individual work, consist of a progress and development of the ideas generated in part B, and how the design may aid and be incorporated into the team. The base ideas would be taken from the proposal of part B, in which Culture, Nature, and Shelter. This idea would be developed later into a more tangible and structural ideas, which would be narrowed down into three ideas to be used for the purpose of the team.

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0.1.1 PART B REFLECTION The main design ideas of Part B are Shelter, in response to the brief that leads to the second idea which is Culture; exhibiting a form of a roof in Indonesian traditional house, the Gadang Shed, in which it responses to the Global Village which juxtapose with the Central Habitat. Lastly, Nature, as to relate with the site of being organic, and the aim of CERES to preserve and conserve sustainability of nature, and the value of multi-culture. However, after a further reflection, I want to omit the idea of Culture, since it lacks of context in the Ceres Central Habitat. After a further analysis, the central habitat focuses more on a reflection of nature, through Central Habitatâ&#x20AC;&#x2122;s intention of children re-experiencing the forest in the perspective of the animals, through playing on the site. Although the idea of Culture is not fully separated from the site, that is, the idea of Culture is still implicitly sustained within the site, through the multicultural aspect of the users, however, for the purpose of the design, it is omitted. The next idea that is developed is fully on nature and shelter, combined with the roof structure of the Gadang Shed that has been made in Part B.

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The Gadang Shed, from Part B

Culture Exhibiting one culture from a region in Indonesia

Culture - Shelter Using Indonesian Traditional Roof as the overal form

Culture - Nature Organic properties of Cultural development and vernacularity

Unity A lightweight shed, respond to the patterns of nature and a spiritual space to unite the multi cultural users

Shelter - Nature Patterns of Nature to be integral with the shelter Shelter

Nature

Response of the needs of the brief of a shelter in the Ceres central habitat

Taking the random generated Patterns of Nature

Part B conceptual ideas

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I have mentioned that one consideration to improve the design by omitting the idea of culture, is that to create a contextual design. As such, I want to develop the ideas more, so it has a closer relationship with the site. In the site, there are existing poles that are provided to attached the structure. However, after a further reflection on the previous design, I found these poles to be an aesthetic hindrance, and it is unfit with the final design. Therefore, I improved the idea of site synthesis, as a result, I wanted to properly hide the existing poles from views.

result, I have decided to improve the design to this point, in which later would be cultivated into the 3 final design ideas. Furthermore, I believe that this design is a more suitable for the Central Habitat. It has been discussed that the focus of the Central Habitat is to re-experience the nature from the perspective of the animals. Through the second design, I believe that this would be realized through the form and the atmosphere of the space, which resembles a forest. It also hides the poles, which is an advantage that would provide a clean aesthetic of the site.

After a further reflection, I feel that the poles are a means to create a suspended structure since the poles are rigid enough to carry loads, and it has hooks for the tensioning member to be attached to. As such, I have decided to create a structure that wraps around the structure. Inspired by Iwamoto Scottâ&#x20AC;&#x2122;s Voussoir Cloud, it intrigued me to create a new design in which integrates the design ideas, in which are nature, shelter, and hiding the poles. The form of the Voussoir Cloud pavilion also similar to a form of a tree, in which I can relate it to my idea of nature, and the intention of CERES to create a forest like experience. As a

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Forest like ambience, in which is the design intention of the second design

The poles at the site, in which is obsolete for me and aesthetically unpleasing to be integrated into the design Iwamoto Scottâ&#x20AC;&#x2122;s Voussoir Cloud as the precedent

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SECOND DESIGN These are the sketches of â&#x20AC;&#x153;what could have beenâ&#x20AC;? should the idea of Culture was replaced with Site Utilization, in which utilizing the existing structure on site, which is the poles. However, it focuses primarily on bio-inspirational approach of design, while using the inspiration model of Iwamoto Scottâ&#x20AC;&#x2122;s Voissoir Cloud and the definition provided, to create the similar structure which addresses the ideas of Bio-inspiration and Shelter. The main argument and narrative is to emphasize the re-experience of forest, and to re-create the structure of trees and forest. The previous design has achieved the spatial effect of light and dark, which is created by the perforation, and the general idea and design intent has been achieved, however, this would be the proposal if the design had a different approach. In this design, I still retain the structural and geometrical properties of triangulation, tessellation and panelization. This structure proves my argument on the flexibility of triangulated structure, although the quantity of panels needed are higher than the previous structure. In spite of that, the one thing i have learned through the research development from previous sections is the feasibility and flexibility of triangulated geometry as a simple, flexible modular geometry for structure.

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However, one hindrance of it is on the perforation, since Grasshopper works mainly on 4-edged base surfaces, interpolating points on surface for triangle need a higher precision, care, and accuracy in the definition. For me, it is such a pity that I did not have much time in creating the details for this design. The previous design also achieved what I have intended, however, this design is the more elaborate one and developed thoroughly. Due to time constrain, I could not developed it more. Nevertheless, this is the challenges in design process. I had a similar experience in my previous studios, in which there were lack of time constrain to developed the final design thoroughly. I realized that this is a challenge in my architectural practice to have an underdeveloped design. I learned, that it is important to have few thoroughly developed ideas rather than many superficial ideas.

Section sketch of the design

The second design, using the Vossoir Cloud definition provided

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Ideas Extraction Concept Diagram The ideas extracted and developed more into a tangible ideas. It is the result of a further reflection on the advantage of the second design, related with the design. It provides much information about the current design, in which are able to be refined more thoroughly and in detail, to relate more with the brief.

the ideas used in the previous design, to the refined design, and lastly to the ideas that would be incorporated with the final design.

Furthermore, this diagram showcase my design process and development on how

Shelter like structure to accommodate the brief and the needs of the client and the users

The shelter structure would still be incorporated since it is the brief and the needs of the client.

3 General Ideas: •Nature •Site Synthesis •Shelter

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The shelter’s overall can be anything, since the panels are triangulated. It has been discussed before that triangulation is the flexible geometry for creating a tessellation, since it is the simplest planar shape.

The integration of the site elements and the design creates a design that communicates the idea. Furthermore, synthesizing the site with the design creates a close relationship between the site and the design

Integration of the existing poles into the design

The poles that are integrated to the design serves also as the primary structural load bearing. This provide a potential for the design to have a reduced, and hidden structural member. The suitable structural system for this type of structure is a tension structure. The lightweight structure can be hung and creating a catenary structure

The hanging structure, enabled through the tensioning members and the lightweight property of the structure may provide a layered perception, in which can be related to the idea of nature that reflects the view of the forest and create a layered transparency and opaqueness of the lighting.

Perforation to provide light and dark contrast, thus creating an ambience of nature

It also allows the practiced research fields to be applied to the design. Furthermore the perforation can potentially be developed into a more elaborated expression of the forest ambience, in which it creates a layered perception should the panels overlay one another.

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0.1.2 THE 3 IDEAS In conclusion, the three ideas are the narrowed down of the overall ideas that are extracted from the second design. These ideas are: 1. Site Synthesis, in which a similar sense with Site Utilization, which leads to 2. Suspended Structure, in which depends on the tensile force of a structure, enabled through Site utilization, that allows 3. Layered perception, through cantilevered triangulated panels. In the new diagram, showed on the right, I use Frank Lloyd Wrightâ&#x20AC;&#x2122;s Fallingwater house as the example of Site synthesis. I use it as an inspiration, and it also reflects my thinking process on what a site synthesis would look like. The house on the diagram shows that it looks like it is integrated with the surrounding natural elements. This was actually my intention on synthesizing the design and the site, with also an incorporation of the existing poles into the design, other than creating unity of the design and the atmosphere of the site. The extracted ideas are the result of a further analysis of the second design, particularly focusing on the development of the details, structure, and spatial value of the design intent. The general idea is to create a forest-like shed that gives a transparent, ephemeral effect that is created when the sun penetrates through trees within the forest. The diagram on the previous page shows the creative process and decision to choose the

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ideas. The ideas are contained within the general idea of Bio-Inspiration, in which is expressed in the second design. After a further reflection, I believe that this idea is more tangible than the previous ideas. The previous ideas are ideas that are extracted and developed slightly from the context. However, I feel like the new ideas are more tangible and applicable in addressing a real life situation and space. It is still the developed ideas from the previous ones, but I think this has more value, since it is a more detailed approach on the design. I also think that these ideas are already developed well and there is a unity and relationship between these ideas, and it is contained under the inspiration of nature. As such, a further research on nature and how the nature works are to be conducted. However, Bio-inspiration, or inspired by nature, cannot be received similarly with Biomimicry. After a further contemplation, I found that these two are different. Biomimicry is an application of Natural principles to aid human activities, whereas bio-inspiration is a more of a design approach, in which nature is the precedent for the design. In this project, I like to use Bioinspiration, more than biomimicry.

Site Synthesis Integrating the overall design with the existing element on site

Frank Lloyd Wrightâ&#x20AC;&#x2122;s Fallingwater House to exemplify the idea of site synthesis, in which the design is blended and integrated with the surrounding elements.

Bio-Inspiration All of the generated ideas are based on the bio-inspired forest like structure that is expressed on the second design

Layered Perception Multiple layers that provides a variety of perception and transparency

Suspension/Tensile structure A Structural technique of using tensile element as connection

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0.1.2.1 SITE SYNTHESIS The first idea being the site synthesis, in which the design is integrated with the site, in which previously I have explained that I am inspired by the Fallingwater house by Wright. The poles are the focused elements that needed to be integrated, although the design should also has an atmospheric unity with the site. The intent of this idea is that the design, to cover the structural pole for aesthetic function. Furthermore, the pole could act like a tree trunk which supports the whole structure. Another idea from the Site synthesis is the idea of re-experiencing. As it has been discussed previously, that the site, which is the CERES Central Habitat, has a purpose to let the children have a wild imagination of re-experiencing animals of the forest, in which they called it as a “creative process of learning”. As such, this could be synthesized and integrated with the design idea. An integration of both would be the “what could have been” design. This idea is already used in the second design, in which I think is a good idea to utilize the site, therefore, creating a contextualized design and a relationship between the existing and the design. It has been discussed before on why I used this type of approach in the design, which is an aesthetic reason. However, after a further

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reflection, I feel that site synthesis of the design is not just through the incorporation of the element with the design, but also the materiality. The materials used are timber, in which is organic and can be rustic throughout time. I used timber because it also communicates and reflects the identity of CERES, which is to be an organic conservation space that promotes sustainability. To conclude, I think site incorporation is important for me because I feel that a design that connects with the site has more value than the design being in itself. I think, the design that relates with the site communicates its existence to the users, thus, increasing its value, and the site’s.

The image showing the location of the poles in the context of the design. The top image shows the plan diagram, the image below shows the section The line shows the existing poles that are hidden within the structure of the second design

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0.1.2.2 SUSPENDED STRUCTURE The second idea is a continuation of the first idea. Utilizing the site, in which the existing pole is utilized to hold the structure. The panels, particularly the skeletal structure that holds the panels. The section sketch describes the structural system of the design. The structure will holds its form through the unity of one panel to another, however, to stiffened and as an contingency structure, putting a tensile connection between the pole to the structural skeleton creates a more rigid and feasible structure. The advantage of this idea is the concealment of structure, but still provide a sound structure. This also allows a cantilevered structure to be constructed since the â&#x20AC;&#x153;tree trunkâ&#x20AC;? is connected to the poles, creating a rigid and structurally sound base for the tree. For me, the logical reason why this system is feasible for the structure is because, the structure is tessellated base, in which the connection between panels and elements are already stiff and rigid enough to stand by

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itself. As such, however, the cantilevering may create a torsion force, in which the structure may topple to the cantilevered part. As such, a tension force between the structure and the pole is needed to stiffened the structure and place the structure so it is unmovable. The tensioning structure needs to be strong and stiff, in case of a high windy day can give high lateral load to the structure. However, I would still provide small movement to the structure to create sound. I believe that the sound, produced by a small friction between the materials would produce an atmosphere, similar to the friction of leaves and branches in the forest.

The existing poles are installed with hooks, in which is an advantage to provide a tensioning between the pole and the panels.

A different approach of suspended structure, in which a cantilevered timber beams act as the primary structure, which the tessellated panels are hung between the timber beams. afterwards, other panels are installed to be hung from the beam. The flaw with this system is the double use of the panels, in which not economical for the design

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0.1.2.3 LAYERED PERCEPTION Layered perception is based on the idea of layered tree branches in the forest, in which provides different effect of lighting. That is, the effect of trees that juxtapose each other, in which creates a layering effect that is different from each angle. Furthermore, this layering effect creates a lighting value between light dark, that is, a gradation between the lighting on the top layer and the bottom layers of the branches of the tree. As it has been discussed, the structure is a cantilevered structure, in which allows the layered perception to be achieved through cantilevering and hanging structure. It has the same principles of branches of trees. The sketch design that is shown on the previous section, the trunks are joined together that creates an arch-like structure at the top. Since the structure is quite rigid and stiffened by the tensioning member that connects the existing poles with the overall structure, the trees can be disconnected from one to another, therefore, creating an individual standing trees that have different heights, and overlapping each other to create layered perception. Furthermore, the hanging structure can be achieved to add a more emphasized expression of layered perception and a bioinspiration of tree The sketches provide an image of the idea, how the structure could be. In a way, it is

precedented from the Voussoir Cloud, but with a different design intent and expression. The Voussoir Cloud aided me to have an idea of a forest and the hollow center gave me an idea to conceal the structure, and thus synthesizing the site. In conclusion, I have discussed and explained how the design ideas come together as one, and it is dependent to one another. This of course, can be developed even more, or even infinitely, however, I feel like I need to stop here, because I think it already responded to the brief thoroughly and well. As a designer, I now know that at one point, I need to stop developing my ideas since ideas are infinite, and there’s a reality of deadlines. At this studio, I finally learned where should I stop, in which the design has thoroughly respond to the brief. Once again, I am reminded that design is not about aesthetic. I remembered the argument made by Gottfried Semper, when I took the Formative Ideas of Architecture subject last semester, in which he argued that Architecture is about a question of “Why”, not “What”. After a further contemplation, I now realize that it is not about the form, it is about the raison d’etre, and how it communicates clearly to the final design. Of course, the manifestation would be vary.

This is the continuation of the proposed system that was introduced on the previous page. It allows a connection as such between 1 tree to another. The suspended technique also enables the panels to be arranged in a different levels and thus giving a layered perception effect

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The section sketch of the overal structure

A detailed sketch on the aesthetic performance that is to be achieved should this idea is expressed into the design

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0.2 PROTOTYPES 126

The prototypes are conducted by the team in order to test the structural connection between members. The process is similar with Part B.5, but more a detailed version. It aids to provide problem of the system used and aids to search for the design solution. The prototypes are the small detail part of the final design, it shows how the structure, design intent, and the design element would work on detailed level. However, some prototypes are not on the optimum level, since there is a limitation in each member and element of the design, and the limitation in generating an optimum definition to which the prototype would provide a good solution to it.

The location of the prototype would be discussed further in section 3, however, a detailed information of each prototype is in this section. The prototypes also provide many possibilities on how the detailing can be improved. It also includes a pragmatic process on testing each detailing. I think the prototyping process is an important process in realizing the details of the structure and improvement of it. However, one of the issue of prototyping that I found throughout the course is the cost. It may be expensive, especially if the material and fabrication process is complex, such as 3D printing.

The main focus of the prototypes are the structural design performance of the pavilion, in which lies on the detailing aspect of the pavilion. Moreover, the prototypes gives an insight of the overall structure, how would it connects together in reality. It provides fragmented information of the design that later can be concluded in the final design model. Some of the prototypes look like it failed. However, I think the use of prototype is to address the issues on the fabrication that will need to be optimized and solved for the final fabrication.

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0.2.1 MATERIALS The new brief, stated by the manager of CERES, that there is a requirement to build the design based on recycled materials. The team has considered to use recycled plywood and shade cloth. This is also an opportunity for the team to utilize recycled materials, therefore, reducing the cost of the project, and responding to the sustainability aspect of the design.

structure. Its transparency would give a ephemeral effect since it absorbs a portion of light, and create a glowing effect on the interior.

The first recycled material is the Plywood. The advantage of this material is lightweight, sustainable, economic, and durable enough to create the small shed. It needs some waterproofing coat, however, to prevent it from absorbing any moisture and resulting in mold and termites. It has flexibility to an extent it allows wind deflection, and it has flexibility in fabrication, through CNC Router, or Carpentry tools. Furthermore, plywood gives a very organic expression through its source, and texture in which it responds to the design intention of bio-inspiration.

For me, the materials reflect the value and the identity of CERES, in which a preservation, conservation, and sustainability. To use these materials are an opportunity for the design to communicate and synthesize itself with the site.

The second material to be used is the shade cloth. It is a recycled cloth, a portion of it would be obtained from the existing shade on the site. The advantage of this material is its lightweight properties, its flexibility, transparency, yet still perform well as a shading. Furthermore, it has high construction feasibility, and able to be used as a suspended

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Another recycled material to be considered is plastic bottle. The plastic bottle will be discussed thoroughly in the latter prototype section.

Furthermore, personally materiality gives architecture its persona. It gives texture, color, atmosphere, and dynamic to the architecture. I believe that materiality is one of the elements that expresses the design idea. I think it is important in deciding what materials to be used, in order to holistically address the design intent. All integrated together, it would create an intimate relationship that expresses the design and transcends the form. That, for me, is the definition of aesthetic.

Plywood Acquirable from recycled sources (building sites, on-line) Bends under correct conditions Aesthetically pleasing High strength to weight ratio

Shade Cloth Minimal structural damage to existing material May be recycled after mould removal and cleaning Highly effective shading material Easily fixed

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0.2.2.1 FOOTING 1 The material of this footings would be recycled plywood which has been explained thoroughly on the previous page. It consists of 3 12x50mm timber, in which arranged to face the center. The rings are installed using angled brackets from bottom of the â&#x20AC;&#x153;trunkâ&#x20AC;? to the top, in order to prevent the ply sheets to buckle and fail. The connections such as screws and brackets at the bottom of the rings are located underneath as an aesthetic purpose, in which to hide the connection. Furthermore, it is compulsory to hide it in order the children will not be harmed by the fixings. The way the sheets and the trunks connect is through slotting, in which the sheet and the rings have slots to allow intersection between two members. Afterwards, it is fixed through the brackets. The circles and the trunks provide a dual purpose, in which it responds to the design intention, in which will be discussed thoroughly in section 3, and the other function is for structural stability. There are some considerations, nevertheless, in using this type of system. The first one is the requirement of the brief in which it should not be climbable for the children. However, after a further calculation

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and reflection, I believe that the children will not be able to climb this structure. The rings are spaced carefully, to make the structure adequate, and unclimbable to the children. The design of the footing is considered thoroughly as well. The intention is that it is structurally sound, but yet still gives an impression of lightweight and still addresses the idea of education, which would be explained later. As a result, the footings are designed like this, in which it incorporates several structural issues, occur because of the materiality and the form of the structure. I believe that this structure is more rigid and sturdy, because it has 3 load bearing elements in each column (or trunks), in which the weight of the structure can be spread into 3 different points. Furthermore, additional noggings and rings are applied to neutralize the forces that leads the timber to buckle.

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0.2.2.2 FOOTING 2 The second footing prototype includes a slender version, and could be said a hybrid between the tree rings and a slender timber beam. It uses the same material, but more connection to create a rigid connection. It has a similar structural principle with the first one. The consideration to use this footings are mainly for aesthetic reason, in which to keep an expression of a lightweight structure. As such, much of the load will be supported by tensioning and suspended structure, by connecting the structure to the existing pole using a tensioning member such as cables. However after a further consideration, and a tutorial feedback, This structure is not feasible. It is structurally flaw as the member is too slender, and lacks of lateral load baring capacity. As such, should this footings be used in the pavilion, the whole structure would just fail and the wind will carries the structure, and thus, flipping the shed. One may argue the possibility of the poles being its main support. However, after a further consideration, the poles barely have load bearing capacity. It has a small radius, in which it carried a very lightweight membrane structure. In conclusion, the poles are not possible to be the main load bearing structure, even if half of the load is carried by the footings.

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However, the poles may be used to maintain the position of the structure and an element to fix the membrane to. For me, The design of the second footing is much more clean. If this footing is used, the design would be a very expression of lightweight. However, it is not feasible for the structure. The slenderness of the design with the intended structural canopy forbids the use of this footing.

Connection to Canopy

2 bolted connections reduce moment forces Double thickness

Lower Member Gusseted at T-junction Two identical element

Capping Element

Hides structure Serves as educational and visual effect Engages structure with surrounding trunks

Spacers

Ensures stability Binds bottom structural members

Steel Brackets

Joins lower members to secured stumps. Four used for solid connection

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0.2.3 CANOPY HUB MODULE The Canopy Hub Module has the connection to be integrated with the member. The prototype is a triangle, which is based on the triangulation. The panels are created by connecting one ply member to another through thread rod, fixed with wing nuts and retained by washers. As such, the canopy timber would be planar all the way. One issue is that in the model, the structure is not similar to a dome, in which it has a similar planarity throughout the surface, rather, it has planarity issue in connecting one planar member to another. The solution would be by adding rubber back-propping to allow different angles. Furthermore, by increasing the thread rod used, it allows a spatial movement between members in one rod. This is shown in Image 1. The shade is fixed between members, in which allows a more rigid connection between the shade and the canopy. It also allows fewer fixings since the sandwich technique reduce the movement of the membrane, and the membrane is fixed at the edge of the structure, thus reducing the cost of construction and time. Furthermore, the existing pole may give an additional bracing for the membrane in order to reduce the wind load received by the membrane that would affect the whole structure.

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The construction advantage in this design is that it is feasible, customizable, and the use of 1 material that reduces the cost, and variation of materials. The connection technique in here are thoroughly thought and discussed in order to achieve the design intent. Furthermore, looking at the prototype, the integration of the connection, the timber member, the washers and the cloth creates an interesting aesthetic, in which integrates the idea of traditional craftsmanship and computed fabrication, especially using the CNC Router.

Wing nuts

Allow for gradual assembly of the project Assist in generating flex in plywood members User friendly

Ply member

Hubs at ends to fit with others Mass customizable Back-propped to aid in achieving desired angles and arcs Hubs and members may be labeled for ease of construction

Washers

Oversized for aesthetic detail May incorporated flower pattern from lower canopy for continuity

Image 1. The structure may incorporated flower pattern from lower canopy for continuity. The yellow dot represents backpropping to allow different angles between members

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0.2.4 POLYHEDRAL CONNECTORS The connection details are perhaps the most difficult prototype that is made. Details shown are located on the lower layer of timber structure, which hangs the flower panels. The purpose of this prototype is to show the connection between the connections. Since the structure is irregular and complex, an unconventional connection between the members are needed. A hollowed polyhedron shapes that has the same geometry with the juxtaposing timbers are made, which also consist of a stopping element to prevent the timber to slide deeper into the connection, that results in an intersection with other timber. The holes are made on the connection and the timber to allow nuts and bolts fix the elements. Furthermore, the use of pin joints here is to allow movement, should a lateral load is received to the structure. The mechanism of the connection here is to slot the timber into the connection, an then bolted at the holes.

plate. Therefore, a high impact resin is proposed for this connection, in which molded with holes. The precision that the grasshopper provides improves the constructibility and convenience in fabrication. The built in holes for the connection would be a great advantage, in which the element will not be holed when it is fabricated, compromising the molecular structure of the resin, thus reducing the structural capability of the element. A composite element of AAC (Aerated Concrete) and steel reinforcement bars / plates seems plausible and lightweight, however, it may not be economical.

The material would be difficult to determined, since the element should have feasible construction, economical in terms of the fabrication. The most probable material used is a heavy duty resin, in which is molded to be as such. A consideration needed in choosing the right material, since concrete would be too heavy, other cast-in material would be too brittle to be the connection

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Built in Stop to prevent the timber member from sliding any further, thus reducing shear forces between the bolts and the timber

Precision of fabrication, in which the holes are cut to intersect between members, then the rod is fixed with bolts

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Prototype of the star junction, hand for scale

Precise holes are made in the grasshopper to create an accurate connection

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These are the real model prototype for the polyhedral connection. The star connection is 3D powder printed and the timber members are 4-layered 3.00mm thick MDF board that is glued together, similar to GLULAM technique, to make it 12.00 mm thick. The prototype provides issue and success of the system that is developed. The connection, relationship, and system of the complex intersection works perfectly. As it has been discussed previously, the accuracy in the definition provide the system to work. The timber members are able to be slotted on, in which stops at the designated location and able to be bolted. However, there are some issues in the prototype. A gap tolerance of an approximate 1mm is needed for the slot, in order to tolerate inaccuracy in the fabrication. In this prototype, no tolerance was given, therefor, the system cannot take any inaccuracy, which led me to reduce 1 layer of timber into 3, although the true member thickness is 4. As a result, the timber members in the slot are prone to movement and since the 3D slot is hollow, it cracks when it is bolted, since it lacks of mass inside.

as such, it would be inadequate to be used in a certain condition where there is a tight space between the slots. As such, my hypothesis was correct. In the previous page, I proposed in using a threaded rod with double nuts and washer on both sides. The reason I proposed that connection is because thread rods are able to be manually cut, thus, providing the length that is desired. However, due to a limitation of equipment skills and access, this prototype tests other connection and the proposed connection is not tested. Another consideration that i need to address is the materiality. 3D printed is not recommended at all for this connection. It is quite heavy, and too brittle. I must admit, it is sturdy if it is not hollowed out. However the biggest consideration that i think of is its brittle properties that tends to break, if there is a wind load that moves the timber. As such, I proposed the heavy duty resin to be used in the connection

The second issue is that the bolts. The prototype uses the normal hex-head bolts and nuts with washer. The bolts have fixed length,

Gap tolerance is needed to accommodate size discrepancies in the fabrication. As such, the timber members are reduced by 1 layer

Cracking occurs because of inadequate fill because of the size discrepancies

Constructibility issue that is caused by inadequate

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0.2.5 FLORAL PANELS The Floral panels are hung panels that contains the cells, or the plastic bottles. Series of the geometry of the flowers are tested through different heights to give a layered perception when one sees it from below. It holds the plastic bottles like a plate, that is, the inverted bottles are fixed to the top of the flower panels, and then the panels are hung to the timber members. Various shadow testings also conducted to test the projection of the geometry in different heights. Various geometries are used to express the variety of flower species in nature. The clustered shadow prototype that is shown clearly expresses the idea of bio-inspiration, of how the shadow in the forest would be casted.

4, in which panel 4 contain 5 bottles, and the other one contains 10 bottles. The floral panels, I believe, has the most potential to be developed. It has a lot of variety of panels. Moreover, I feel that the panels have the closest relationship with the idea of Bio-inspiration since it is directly quoted from the elements of nature. However, it has been discussed that the considerations in selecting the panels are constructibility an feasibility in construction, in which not all floral forms accommodate that.

However, the flower panels that are used are the 2 left geometries, shown in the Shadow Testing image. One of them is shown on the image below, in which consists of 5 oval shaped frame panels. The reason for this decision is due to time constrain of prototyping and fabrication. Although, it also improves the feasibility of the construction, as simple geometry that is produced by the fabrication is quick and easy to assemble. Furthermore, its simplicity could also improve the economical value of the construction. The panels are vary in sizes, but the sizes that are used for the model are panel 3 and

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Use Different Height To Test The Leaves Pattern

Shadow testing of the flower patterns

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0.2.6 CELLS The Cells are obtained from recycled plastic bottles, since the brief requires to use recycled materials. Moreover, recycled bottles may respond to CERES’ theme of handcrafting. As such, the recycled bottles are used to let the children learn through play, in which the theme will be discussed in section 3. After the children created their arts and crafts through the bottles, for example, painting, their bottles would be exhibited on the flower panels that are hung. The prototype below was created to exemplify the real life model of the cells. There is a transience effect of the cells, in which it may be replaced by other children’s works. However, it expresses the idea of ephemeral in which will be thoroughly discussed later. The advantage of using recycled bottles are its economics, a respond to current global sustainability issue, allowing an interactive design, feasible construction, and the lightweight performance, which respond to the structural needs of the shed. However, one issue that arises in this element is the drainage. Since the used recycled bottles are cut into half, it creates a container like shape in which allows water to puddle in the bottle. As such, considerations are needed to find a solution to the problem.

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The image on the right would show the problem and how it is solved. Personally, this element of the design would be the most interesting part, in which there would be a variation of children’s craftsmanship, hung at the shed. As a result, a very organic arts and crafts can be achieved. The cells respond to the value of CERES, in which it allows a DIY arts and crafts as a decoration. It values both the artwork and the artist. Furthermore, the multicolored and variety of the painted bottles would result in an ephemeral space, which has a vivid and rich colors of refracted lights.

An additional consideration in designing the DIY cells is the drainage. Since this is a recycled plastic bottle, puddling may occur and may add load to the structure that may result in structural failure. The first consideration is to allow drainage by adding holes to the plastic bottle such the images above, however the puddling still occur since the uneven surface of the plastic bottle may cause the holes not to be made at the lowest point. As such, the team has found a solution, in which the bottle is flipped to prevent any puddling. It still retain the design idea, and it still provide the refraction effect caused by the property of the plastic.

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Imagine you stand under a tree, your favourite tree in the world, and look up. You see the light dancing amongst the leaves, refracting through the thin membrane skin and highlighting the sinewy veins. The branches caress you, keep you safe. They slowly move and creep as their joints are stressed. A slight breeze whispers against the leaves and the light comes alive, moving in time, rustling as a ballerinas would in a pas de deux. You sit against the trunk and feel the roots below, grounding the tree so the wind cannot steal it away like it would a kite. The worn bark peels away to reveal the new beneath and hidden under the skin, you know lies hundreds of rings denoting the trees wisdom. It is here, where you feel most safe. Here, you take a breath and exhale slowly, knowing nothing can hurt you. Another child runs over, ducking under the safety net of the tree and stands with her feet buried in the sand. She nods to the sand castle you have built and asks if she can help. And together, your hands mould your visions, letting our imaginations soar under the dancing light of the canopy.

0.3 A LIFE OF TREES 144

Team Members: Boyd Hellier Knox Emily Thomas Joshua Christian Malak N. El Moussaoui Ong Yi Thong Trenton Lim Wang Ro Xuan 145

0.3.1 BRIEF AND SITE The brief, addressed by the client, stated that the CERES Central Habitatâ&#x20AC;&#x2122;s Sandpit has an obsolete shed, therefore, the client needs a new shade using a recycled material that is safe for the children. The overall site has changed, from the courtyard area to the sandpit, which is located at the central space of the Train Art Space, Nest Treehouse, and the Cafe. It may also be addressed that The Central Habitat encompasses the idea of creating a forest experience, which is to let the children re-experience the forest through the eyes of the animals. In other words, the site expresses the idea of learning an ecosystem through playing, inasmuch as, the team has decided to convey the similar idea, based on the value of CERES. The new site is used as a space for children to play, in which, could be one of the considerations in designing the shed. Furthermore, the design would have to respond to the brief, that is, a lightweight structural shed from a recycled material that is safe for children. A consideration for children has to be made to prevent any harm to them. The site itself has a slope, in which on top of the slope, there are various of trees, shedding the whole area. There are existing

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poles surrounding the pit, which held the previous membrane structure. South of the site is a multipurpose indoor art building, which children can create their own arts and crafts. In conclusion, the brief requires a new shading structure for the sandpit, using recycled materials. It has to be safe for children, which is unclimbable, and usable to both parents and children. The site on the other hand, is located at the central space of the Train Art Space, Nest Treehouse, and the Cafe. It still encompasses the idea of learning through play, which is the value of CERES.

The Red building is the childrenâ&#x20AC;&#x2122;s workshop in creating their own arts and crafts

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0.3.2 DESIGN ABSTRACT Precedence After much discussions and consideration, the team has come to a design solution and ideas. The general ideas encompassed are Bio-inspiration and Education, which convey interactive design for children to learn through play. The bio-inspiration idea would replicate a form of a tree-like structure, in which would be the overall form of the design. It would have combined several research fields that have been conducted by each member on part B. The precedent of a tree-like structure is taken from Amanda Levete’s 2015 MPavilion. It is a lightweight structure in which has a modular panels to create a combination between pattern and geometry. It also has a transparent texture in which amplifies the sense of lightweightness. I was there when the architect gave the presentation on the pavilion. It has a very lightweight ambience, almost like it is floating, however, the shades are interesting since the panels refracted the lights, it gives an ephemeral, transient, yet a timeless expression of lightweight and forest.

this pavilion for its vivid color, in which reflects the emotion and ambience of summer. I went to this pavilion on December 2015 with my family, it’s an open space, but because of the colors, with the music, in which I am not sure if it’s included in the design intent or not, creates a separated ambience and feeling of space from the exterior. The idea of education is basically extracted from the value of CERES, which, the children can learn a certain value of bio and cultural diversity through playing. These ideas are then combined with the intention of the site, which is re-experiencing the forest, and the requirement of the brief, which is the use of recycled materials*. As such, the final progress of the design would create a forest like, ephemeral ambience that provides educational value to the children.

Another precedent is the John Wardle’s 2015 Summer pavilion, in which it has a shell structure that has hanging modules. The transparency of the modules create an ephemeral effect, and thus giving a light ambience of space. Furthermore, I really like

* Refer Prototype 2.1 for recycled materials Image source: Top: 2015 Summer Architecture Commission Pavilion. 2015. Exhibited in National Gallery of Victoria, Melbourne, Australia. By: John Wardle Architects. Source: http://www.ngv.vic.gov.au/exhibition/john-wardle-architects/ Bottom: Translucent MPavilion. 2015. Melbourne, Australia. By Amanda Levete. Source: http://www.designboom.com/architecture/al_a-amanda-levete-mpavilionmelbourne-queen-victoria-gardens-10-05-2015/

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2015 Summer Pavilion by JWA Architects Photograph Copyright John Gollings

2015 Summer MPavilion by Amanda Levete, Photograph Copyright John Gollings

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KEY CONSIDERATIONS From Nature -

Growing from the ground Camouflage, blends with surrounding Ephemeral Recycled materials Allows animal occupation

Modular components allow more flexibility with the available material

Constructibility - Cost effective - Easy fabrication - Non-skilled labour assembly

The diagram shows the key considerations that the team has to solve. These includes the requirement of the brief, that is, a cost effective construction from recycled materials, and safe for children. Other considerations include the performance and the function of the shed, how it would function in real life situation, and how the design idea of bio-inspiration may be addressed in the design. The ideas of Bio-Inspiration and Education will be elaborated more throughout this section. Since Bio-inspiration is the main idea, the whole structure would resemble a tree. Therefore, the ideas would be elaborated in order of the parts of the trees, starting from 150

the footings, or trunks, to the floral panels, or leaves. Within the explanation, the idea of Education is integrated and expressed in the extent of the tree. A further consideration is the constructibility of the design. The team needs to address the design that is cost effective, elements that are easy to fabricate and produce, and require a construction that is easy to assembly. These considerations are to be thought, since this could also leads to the design solution.

Growing high from existing tree trunks

For Children -

Safe & stable structure Child contribution and learning Unclimbable Lightweight

Installation of children’s artwork & abstraction of concepts

Air as the atmosphere in which trees live and communicate

Function -

Sunshade device Light-play effect Comfort and closure Movement with environment

Design Aim: “To design an economical lightweight shed using recycled materials, that is bio-inspired in order to educate the children on a value of nature and diversity through playing and interaction with the design.”

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BIO-INSPIRATION - FOOTINGS (TRUNKS) The consideration of the footings is the place and position in relation to the site and the design. In order to resonate with the idea of a tree, the team has decided to place the support of the design at the existing trunks on the site. It aims to create a continuity and symbolism of the growth of trees. The trunks will later be replicated throughout the footings as an education aspect, which will be discussed later.

includes 3 slender vertical timber members and series of circular noggings, to prevent the timber from buckling.

The sandpit consists of a series of trunks, in which it has different heights. Some may have drawings, perhaps made by children. The footings will be fixed on the empty trunks in order to maintain the drawings. The team has explored a series of tree trunks, how it looks like, to be replicated in the final design.

Another consideration to be added is that the design would have an expression of lightweight, as such, I think it is a good decision to create a frame like structure for the footings, instead of a thick mass like structure. Should that happen, I think the design would not address the idea well.

After much reflection and contemplation, I found the thick footings to be interesting, as the whole design intention is to create a structure like 2 trees connecting together, using this thick footings give an impression of the lower part of trees, which is the trunk.

The footing used is the first prototype (2.2.1). After a further reflection and feedback, I have decided to use this type of the footing instead of the other one. It is much more sturdy and structurally sound, and it is thick,resembling a tree trunk which is much wider than the branches. The rendered image on the right shows the footings, which is a representation of the tree trunks. A thorough explanation of the footings has been discussed in Prototype 2.2.1. To revise, the footings has a structure that

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Existing stumps as the foundation of the design. The stumps also serves as the boundary of the sand pit area, and it is decorated with bio-inspirational paintings, in seems to be the works of children.

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EDUCATION - TRUNK RINGS As it has been discussed earlier, the main ideas of the design is Bio-inspiration, and education. The education part is expressed throughout the bio-inspirational aspect of the design, in which children may learn and appreciate trees more. The two main elements that focus on education are the trunks, and the cells. The trunk, or the footings, are etched with rings, in which is an engraved form within a tree, showing its age. The rings that are encased here has the same age with CERES. This however, does not aim to make the children know about CERES, rather, as a general education for children to learn about trees. The series of tree rings are installed throughout the footings, other than to respond to the design, it also responds to the structural needs, in which it prevents the supporting timber columns from buckling.

thing to be considered, however, is that the rings also serves as the structural members, in which its integrity can not and should not be compromised at all. After a further contemplation and reflection, a traditional arts and crafts approach is recommended more for this part, in which the textures and the rings are drawn manually. Rather than keeping the integrity of the material, it also reflects one of the value of CERES, in which an organic arts and crafts preservation.

I think that the rings can be produced in 2 ways. The first one, using the laser cut which etches the timber, or painted it to create a more organic aesthetic. Both are feasible, and another possible way that I think it could be created is using both approach. The high tech approach using laser cut can create a rough texture that is similar to the real tree trunks. Then, the textured timber board can be painted to provide the aesthetic form. One

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Diagram showing the age of trees

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BIO-INSPIRATION - BODY The early sketches of the design, inspired by MPavilion. It is developed into a more straightforward aesthetic, resembling a tree. The proposed design in here is to create 2 tree like structure and then connect it at the center to create the canopy. This also symbolizes togetherness in nature, in which responds to the Central Habitat as a collective space where children can play. Furthermore, the last sketch, which is the bottom right image, shows a hanging elements from the trees. It is inspired by JWAâ&#x20AC;&#x2122;s pavilionâ&#x20AC;&#x2122;s folded modules, which creates an ephemeral space. It also acts as a frame for the cells, which are children made arts and crafts, created from a water bottle. The team also considered the idea of education thoroughly, in which, what is the main educational value of the design? What message, conveyed to the children? We have discussed that the design will convey a message of a tree, an expression where children could learn and appreciate trees in order for them to realize the need of sustainable environment and to learn how trees work, while they are playing in the sandpit. In conclusion, the team has decided to create the shed like an arc form, which expresses the aesthetic quality of two trees connecting together.

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BIO-INSPIRATION - CANOPY The Canopy is inspired by the forestlike perception, in which the leaves have layered positioning, that creates a layered perception. The team has decided to use both the floral panels and triangulated shade cloth to create a desired design effect, in which a semi-transparent canopy that has a layered perception, which is precedented by JWAâ&#x20AC;&#x2122;s summer pavilion. The shade cloth canopy also acts as a sun and rain protection. In the final presentation, a point was made as a critique to the double use of canopy, in which thereâ&#x20AC;&#x2122;s an idea proposed to put the floral patterns and the bottles within the triangulation, thus, removing the shade cloth. After much consideration, I would think that will reduce the performance of the space. The semi-opaque plastic bottles would perhaps reduce the sunlight, however, a consideration has to be made on the effect of the space its produced. Should plastic bottles replace the shade cloth, a layering effect will not be achieved, and, the environmental performance would be different. Furthermore, the cloth also acts as a rain retardant, in which it would prevent water to get into the space quickly, since the cloth would absorb some of the water. The ephemeral effect achieved will resemble the ambience of a forest, particularly

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when there is a sun-ray passing through the semi-opaque shade cloth. Children will able to recognize the resemblance between the structure and the ambience of a forest. The triangulated structure of the canopy also serves as a resemblance of the branches of the trees. In addition the structure below, the layered perception achieved by the structural timbers would create a cluster of branches in the forest.

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BIO-INSPIRATION & EDUCATION - FLORAL PANELS AND CELLS The Panels and cells are the smallest element of the design. It represents the leaves of a tree. The cells are made of plastic bottle, whereas the floral panels, or the frames are made of laser cut recycled timber. The prototype used 3.0 mm MDF Board as the panels. The clustered plastic bottles will give a crowded and layered perception of the interior. It is hung to the timber structure using a tensioning member. The panels are hung inverted to create an expression of floating, and resemblance with the leaves, how it is attached to the branch. Furthermore, the inverted panels are also inspired by MPavilion that is inverted, thus creating a different kind of expression

could be said, a very rich, organic, and vibrant aesthetic, that reflects CERES. In addition to the refraction properties produced by plastic bottles, it would be a true ephemeral and vibrant ambience of the space. In overall, the structure would resembles a tree connecting together, which has branches and leaves pattern at the interior of the space. As such, it could be said that the whole ambience, with its layered perception and patterns, create a forest like experience, in which is one of the addressed design intent of the shed in response to the value of the site.

The purpose of this is to make the design more interactive to the children. Acknowledging the neighboring site is the workshop building for children, in which children can express their arts and crafts skills. The aim of the shed is to exhibit children’s works. Children may practice and improve their creativity skills through the use of interactive cells, as such, a one form of education. I imagined on how the structure would be, filled with various of children’s works that are much conveying the value of diversity and handcrafting that are preserved by CERES. It

An inverted image of 2015 MPavilion by Amanda Levete’s, in which creates a different kind of expression. The suspended structure removes support from beneath, thus creating a more free space for the users to circulate and to play. Moreover, the suspended structure provide a lightweight appearances of the design. In the design, the suspended panels would provide area for the cells to be attached to. Another advantage is that the suspended panels can provide a layered perception and appearances, through different positioning of the panels.

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The suspended floral panels, in which the plastic bottle cells are attached to.

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0.3.3 DESIGN PROCESS BIOMIMICRY - BODY The process includes the combination of previous research fields of the team members, which are Patterning, Structure, Biomimicry, and Geometry. The team decided to also put their applied knowledge to this project, and collectively brainstorming the ideas and considerations that needs to be made in order for the design to be successful. The team has decided to use the Lindenmayer system, or L-system as a biomimicry approach to the definition that is used in the design. L-system is a system which re-iterates a certain command in parallel. The biomimicry aspect is expressed in this system because it has a similar principle with cellular mitosis, that is a process of selfmultiplication of bodily cells. Moreover, it could be said, it also has a resemblance with a branching technique of a tree. L-system has a similar principle with the growth of trees, an expression of bio-inspiration idea. It is an algorithm of branching, should a base geometry is designed carefully, the result would be a curve-like structure resembling a tree. As such, this is the consideration why the team choose the L-system or branching technique. The right page shows the species and generations, produced by grasshopper. The form and the branching shows clearly the

Mitosis process of human body cells 162

resemblance of a tree. The L-system iterates 2 times, in which it produces 2 branching process. The species that will be used for the final design is an improved version of the second generation. I believe that the L-system would provide the design form that is intended. It reflects the properties of nature, conceptually through the nested multiplication in a programming language, which means, a recursive process, or a loop of branching, or multiplication. I believe this also has a potential to create other type of structure that requires branching technique.

L-System Diagrammatic Process

Base Structure

First Branch

Second Branch

Generation 1

Generation 2

Generation 3

A simple diagram showing how L system works, similar to mitosis

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GEOMETRY - CANOPY The geometry of the canopy uses the triangulation technique, as a response to the surrounding site. The site is located at the central space of the Train Art Space, Nest Treehouse, and the Cafe. The spatial interpolation between those three spaces resulted in the sand pit, in which, could be said, generate a triangulated geometry for the space. As a result, the team has decided to use triangulation as the base form of the canopy. It also could be said, that triangulation has its advantage. I have discussed the advantage and disadvantages of triangulated panels, however, since the panels are not perforated, it would be more convenient to construct this type of system. To revise, the triangulation is a surface generating technique based on 3 interpolated points, thus, the surface created is triangular form. Since it is the simplest surface that can be generated, it could be said, it removes all planarity problem that may arise when triangulation is not used. Furthermore, it is flexible, and it has a hierarchical relationship between the panel and the whole geometry.

more difficult and not flexible, therefore, using Weaverbird Polyline, the team has managed to extract the edges of the mesh in a form of polyline. As it is a triangulation, the surface generated will always be planar, as such, Boundary Surface component can be used that resulted in poly-surfaces. This, for me, one of the contextualized design that I mention in which the design communicates with the site. Although this is conceptual and very subtly expressed in the final design, I believe that the forms can be generated easily once the site is known well.

The process in grasshopper includes finding the meeting points between edge curves of the L-system and the stiffening beam curves, then interpolate the points using Delaunay Mesh component. However, working with mesh is

The flexibility of triangular panels are shown here. The overall form is created using Delaunay mesh in which reduced in triangular manner using Weaverbird component, to create a smooth membrane like structure. However, the form it produces is in mesh, in which its planarity of each triangular panels cannot be tested. As such, I extracted its lines using Weaverbird polyline components, and then I used the boundary surface component to test its planarity. I always use this technique because boundary surface can only produce planar surface

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GEOMETRY - FLORAL PANELS The geometry of the panels serves as the base for the patternisation. They are sketched manually in paper, and then created in grasshopper. The form generated varies from an abstracted oval form, or a more literal form such as the bottom row, that almost resembles a part of Maple leaf. A more elaborate process of generating the form will be discussed on a latter page. In here, there is a selection and testing of the geometry. The base flower geometry is to be repeated throughout the shed, to create a pattern, and thus interrelating 2 different research fields. This shows a relationship between geometry and pattern, as a relationship between the homogeneous and the heterogeneous, thus creating a hierarchical relationship between the two. As a practitioner of patterning in part B, I found this interrelation to be interesting to be used in the later practice in designing. I found that this hierarchical relationship between 2 different fields to be an interesting approach in design, especially in the context of this project where Bio-Inspiration serves as the general idea. As such, the pattern generated, could be said, almost a nature-like pattern.

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STRUCTURE - DESIGN PROCESS

L-System (Branching Technique)

Optimized Canopy

As it has been discussed, the base form of the shed is generated from the L-System, in which it is a branching technique, generated by grasshopper to create a tree-like structure. The form generated then is optimized, connected together to create a more stiff structure. It is structurally optimized using Karamba plug-in in order to have a more stable structure, and optimized manually in rhino to provide a cleaner linwork for the next step. The curves are then thickened to accommodate the real life timber member size, which is 12x50mm section recycled plywood timber. 168

The Floral panels are then added, in which

Vertical stiffening, Branch Selection

Thickening curves into real life members

each has a different height than the other one, to create a layered perception effect. Lastly, the footings are optimized, to use the first prototype footings (Refer to Prototype 2.2.1). The reason is that it is more stable and provide a higher load bearing capacity

Canopy Triangulation

Structural optimization

Showing Canopy

Orienting Floral Panels

Final Model-Optimized Footings 169

GEOMETRY & PATTERNISATION - ALGORITHMIC PROCESS

Small petal 1

Small Petal 2

Small Petal Combined

Large petal 1

Large Petal 2

Large Petal Combined

This is the detailed design process of the panels. The panels are created using 2 combined nurbs curves, and then rotate it to make a polar array of it. As it has been discussed before, the team has decided to use 2 different sizes for the panels, which has been showcased in the Prototype 2.5. The smaller panel, in which consist the oval shape petals, has a capacity of 5 plastic bottle cells, and the larger one, that has an acute tip, can contain about 10 plastic bottles. The panels are then oriented to the designated location, in which directly below the timber structure. The process of orienting includes pinpoint the location of the timber, using divide distance component, therefore, defines the spacing of each panel. Afterwards,

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the points are moved downward with a variety of distance to create a layered perception effect. Lastly, the panels are oriented to the designated point. A thin pipe is added to represent a tension connection between the structure and the panels. The process also showcase the advantage of parametric architecture. There is only one panel of each kind that was made, and it is iterated and moved to the designated points, and automatically multiplied.

Small Floral Panel

Points selection Large Floral Panel

Orienting Panels to the designated points below the timber structure 171

0.3.3.1 SUN ANALYSIS Another consideration to be made is the effect of sun to the structure. The sun in Melbourne is located at the northern hemisphere. It has a various latitude throughout the year, and thus, the lighting affects the shed differently throughout the year. A consideration made on the model since the aim of this design is to create a shed. The team recognize the importance of sun analysis because of the brief, should the shed not perform adequately like the brief requires, it would be the same as if there is no shed at all. The sun analysis serves to show the sun path and the shadow, casted by the shed. It allows a contextual visualization, in which how the shedâ&#x20AC;&#x2122;s shadow would affect the surrounding site. More importantly, how the shed would perform for the users within the space of the sandpit. The sun analysis also shows the part of the shed that receives the most sunlight. As such, the sun analysis provides information on the heat absorption by the shed. In this context, heat absorption is not really a crucial problem ,since the shed also have trees at the northern part of it, which also acts as a natural shed to the structure. The time and place used for this model are recorded on th image, in which the sun is positioned at 12:00 pm, on 21 December.

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This gives an information that the condition of the site at that time would be summer, at noon. As such, the heat would be at its peak. The diagram shows a gradation between blue, red, and yellow, in which red shows the high temperature and blue shows the low temperature. The next page is a diagram showing how the shed would cast the shadow at a variety of hours. For me, another advantage of the sun analysis other than the performance is as an aesthetic issue. In this design, I do not think it is applicable, however, knowing the sun path and the sun analysis, can provide an integration to the design, which could be said, transcends the architecture to be dynamic.

Shading performance, sun analysis 21 December (Summer) at 12:00 pm LAT -37.82, ALT 75.11, AZM 16.13

Sun analysis on canopy 21 December (Summer) at 12:00 pm LAT -37.82, ALT 75.11, AZM 16.13

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Sun Analysis, Shadows casted at Different Hours 21 December (Summer) LAT -37.82, ALT 75.11, AZM 16.13

Morning

07.00 a.m.

08.00 a.m.

11.00 a.m.

12.00 p.m.

03.00 p.m.

04.00 p.m.

Noon

Afternoon

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Some of the shadows would be projected to the trees and existing structures that surround the shed

09.00 a.m.

10.00 a.m.

01.00 p.m.

02.00 p.m.

05.00 p.m.

06.00 p.m. 175

0.3.4 FINAL MODEL The Final Model is an integration of all the discussed process. It includes the structural, solar, and design performance of the shed. It also has expressed the design ideas and responses to the problem, arose by the brief. The overall design shows the resemblance of a tree, but due to structural issue, the tree form of the L-system is compromised to create a more rigid structure. It is also a holistic result and approach to put the research fields into the design process, to express the design intention and ideas of Bio-inspiration and Education. The shed is located at the sandpit, which replaces the existing shade membrane, as the brief requires. It has 2 series of footings, a series of 3 and 2, in which the series of 3 is located at the north of the site. The shed also surrounded by tree, which also helps the shading performance of the shed. The render shows the desired effect, with its ephemeral effect of the space. The structure and the shade cloth expresses the transience of the space, in which can be traced back into the idea of Bio-inspiration, which trees also give a transient effect of space. Furthermore, the space also provide children to play in the sandpit, and to learn about trees through the use of pavilion. The

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floor to flower panels height allows various users from a various range of age, to enter the structure. This solution was made because the team recognized that the users vary from children to parents, as such, the height is adjusted to be high enough, to let parents to come in, and low enough, so children can receive the ephemeral effect of being in a forest. Raw digital model on the top right shows the structure roughly. It communicates the materiality and the form, however, it does not communicate the context and the usability of the design, in which is introduced at the bottom rendered image. The rendered image aids to communicate the form, atmospheric intention, the materiality, and the usability in the site to the viewers.

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Sun-shading

STRUCTURAL OVERVIEW - DIGITAL MODEL

High degree of sun protection using recycled shade sail

Triangulated form Maximizes structures strength and resistance to loading, refer to prototype 2.3

Footing 178

Structure fixed to robust existing elements, refer to prototype 2.2.1

Use of stock materials

Lateral stability

Minimize cost through use in upright to canopy junctions

Structure attached to existing steel uprights, through tensioned cables

Seamless Junction Refer to unbuilt prototype of 2.4, in which it allows a clean, seamless junction at a higher complexity of structure

Floral Panels and cells The Education aspect of the design, where children can learn arts and crafts through play, refer to prototype 2.5-2.6

Usability All aspects of design have considered human dimensions and tendencies, from avoiding climbing, to providing adequate head clearance in the canopy. 179

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West Elevation

South Elevation

The shed has expressed the designated design intention, which to educate the children about trees, through a Bio-inspiration approach of design. The education part is expressed through the use of tree rings on the footings, and the arts and crafts cells. On the other hand, the bio-inspiration is expressed through the shed resembles 2 trees connecting together. The two ideas interact one another to express the design intent. The shed has also fulfill the requirement of the brief, in which to create a new shed, that is safe for children, and uses recycled materials. Previous individual research fields are also integrated in this design. The combination of biomimicry body of the L-system with geometrical patterning and tessellation that is structurally optimized, in which is under the general term of Bio-inspiration. The rendering shows the usability and accessibility of the design, in which the space is usable for variety of users, ranging from adults, to children. It expresses and shows the height of the panels, in which are adequate for adults to pass beneath it.

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The interior space aims to achieve such effect. It is ephemeral, transient, and highly complex perception. The floral patterns are then to be filled with cells, in which it would create a more vivid and organic expression of the shed. The light that passes through aids to achieve this kind of effect. The passing semiblocked light illuminates the interior in which is similar with the forest like ambience. When it shines through the plastic bottle, the light would be refracted, thus creating a lighting effect and pattern in much way natural and organic. Furthermore, the view of the interior has a complex layered perception, achieved through the use of the panels that are laid on different heights and levels. The varying size of the panels help to create an irregular pattern, in which it also resembles the nature. In addition of the cells, the interior space of the shed would give a higher complexity and expression of a tree. In conclusion, the ideas of bio-inspiration and education have been discussed and shown how it is expressed throughout the design, which results in an ephemeral, transient effect that resembles the ambience of the forest. Furthermore, the children may learn a lesson about trees through the interactive design of the trees and its representation. It has also

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been discussed on the constructibility and the prototyping, to the extent of how the shed would be built. Seeing this, I can really relate the atmosphere to the narration, in which to reexperience a children wandering around the forest. Looking up and amazed, to see the giants of nature, the passing ephemeral sunray that dances with the leaves, the serene , soft, cold wind that kisses my skin and the humbling smell of the sleeping Mother Gaia. I can imagine myself running, stepping on the dried leaves as it cracks through the soft, moist ground. It also reminds me to the forest back in Indonesia, a tropical rain-forest actually. It was serene, meditating space with a cold soft wind brushing through my skin, the smell of the humid leaves and the humble earthy smell. I was also reminded on the lights, which shines through the trees, creating a dynamic picturesque melancholic effect, especially when the wind blows, letting the light to refract and dances with the leaves. Furthermore, I think the lighting effect that gives an ephemeral atmosphere transcends the space into a realm of time, which is dynamic, and transient.

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PHYSICAL MODEL (1:25)

This is the constructed model, made manually. At first, the model would be made through 3 printing, however, the issue is that the members are too thin for the 3D printing to print. In other words, the model would fail, and each members should be constructed manually. The real model shows how the structure could be made. It communicates clearly the structure and the design, if it is compared to the rendered ones. The physical model has more realism and representation than the digital model. It shows on the structural elements, how it would look in overall. The panels at the center represents the floral panels, in which the cells are omitted because itâ&#x20AC;&#x2122;s too small. I think Physical model has more potential to communicate the design idea. Although the materiality would not be as detail as digital model, I think it would give a sense of form and space, that is limited in the digital model. However, what i found to be the difficulties in making the physical model is hat the inaccuracy. We humans tend to make mistakes, therefore, inaccuracy in model making cannot be avoided. Furthermore, there are some limitation in the final model, which is the scale. Other than inaccuracy, real life materials have their limitation in being cut into small pieces.

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The scale may limit the materials to be cut in a very small parts. As a result, creating details in the physical model would be difficult. In overall, I feel that the combination between digital and physical model would give the information needed for the design to be expressed and communicated.

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Digital to physical model comparison

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0.3.5 REFLECTION In overall, I think the design intent has already been discussed thoroughly, and the design has reflected the intended ideas and solution to the problem addressed by the brief. Personally, the design has enough information and argument to say that it can be concluded as the final remarks and manifestation of what has been learned throughout the semester. It has reflected the research fields, showcasing the learned skills in grasshopper computation skills, while integrating it with the traditional design process. For the design itself, I think it has already addressed the brief, and the design ideas of Bio-inspiration and Education thoroughly, through a series of prototypes and models. However, I think the design only lacks of species generation, therefore, limiting the process of computational generative design. The generative design process would include the species selection, in which was not showcased in the design process due to a turbulence in the team during the design process. Still, I am happy with the design. It has expressed the atmosphere, and the aesthetic that I intended. I actually learned a lot in this semester. This studio is the first time I am commenced in a design team. This, for me, reflects the future architectural practice in firms, where there are variety of people, variety of personality, that in some cases, would contradict each other. I learned through the teamwork, that, keeping the eye to the objective is the key in a good teamwork. The team had some turbulence, but we keep it professional and objective, in

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which we were looking at the goals, rather than our different interests in designing. Moreover, I actually learned a lot using a new software. I learned a new ways of design process, and this studio actually refined my designing skills, in which is refined every year. I still however, contemplate on the meaning of Architecture, its goals and the very definition of aesthetic. I believe that design itâ&#x20AC;&#x2122;s not about the aesthetic, and aesthetic comes naturally when the site and the design has an intimacy and relationship, that communicates the design intent. However, it is such a pity, that I could not improve my parametric skills more, since there are other responsibilities that I have to do. As such, I have to improve my skills at latter days, and put it into tests in the next design studio. I also give my deepest thanks to the tutor who guided me along the way, teaching me how to use the software proficiently. Of course, he has limitations, and I have mine, and now it is up to me to develop my own Parametrical skills through putting it into practices and tests. In Conclusion, I learned a lot in this subject, and it helps me to refine my design skills, and design approach. I consider myself to be a lucky student to be able to learn Parametricism, and I really hope that I can hone my skills in grasshopper, in which the software that I interest the most. I hope in the future, I can meet people that gladly assist me and teach me more about Parametricism.

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CERES CENTRAL HABITAT - A LIFE OF TREES

0.4 LEARNING OUTCOMES 192

The learning outcomes of part C includes the conclusion of the whole design process. It is a conclusion of the semester work. Part C encompasses the application of the skills obtained throughout the semester. Throughout the Part C I learned so much actually. I have the opportunity to actually applied on what I have learned throughout the semester in the design. I learn to hone my computing skills, through a pragmatic research on solving a certain algorithm. I learned new components, and familiarizing myself with the software. I used to learn programming in my first year, that provided me the algorithmic thinking process, and in Part C, I could apply that skill as well. In overall, I put myself into a real design process of design computation. I also learned a lot of conceptual thinking on the journey to be an architect. Part C also let me improve my conceptualization skills, in which is important in designing. It is another design practice for me, so I can be familiarized when I am in the professional career. Throughout Part C, I could develop my design ideas and forced me to look at the site. I learned that the design ideas can be generated through a detailed site analysis. I also learned that a good design is a design that communicates and reflects the site, in which I exemplified in the final design. I learned finally that design is not about looks, aesthetic is not about forms. Applying what I also learned from Modern Architect, Mies, I learned from him that architecture is not about form, itâ&#x20AC;&#x2122;s about a communication, expression through materiality. I learned to be a more poetic and expressionist person, since I am emotionally repressed, through the use of narrative and letting my imagination gone wild in the design process. I also learned about teamwork. The studio is divided into 2 groups that each consist of 6-7 people. I learn to hone my interpersonal skills, the organic relationship between members, the â&#x20AC;&#x153;dramaâ&#x20AC;?, the variety of people with different background and world-view. I learn how to be a professional team worker. I think this would be a very important aspect in my future architectural practice. It drives me to communicate and to actively looking for a job, in order for me to be able to contribute to the team. I learned to control myself and restrain to be subjective, rather, looking at the collective goods and the objective of the team. I learned how to cope with different kinds of people, how to unify the differences between members of the team. In the process, I found myself to be lost in the team because my team had a turbulence and I was left behind in the process due to an urgent submission. At that time, I almost had difficulties in catching up with other team members who had their hands on their designated task, and who had the idea of what is going on with the design, meanwhile, I was just following

their development, and finally I was caught up. During my time unifying the ideas that were scattered in my mind, I am driven to actively work on whatever task I can do, since I almost had no task designated on me, therefore, I only give my skill in the definition and detailing. Even though I was not much contributing in the concept development, I learned something that my role is also significant in teamwork, since in a team, there are variety of roles, some conceptualize, some do what they are told to do, and some just scourge around, finding something to do and I feel that I was in the last category. I now know that in my future Architectural career, this could happen. I also learned throughout the Part C to sharpen my skills in creating a journal. I was really bad at layouting and unfamiliar with design journal. However, the journal pushes me to the limit so I can express my thoughts more, clearly, and collectively. It pushes me to learn from others, to see how a design journal look like, with the help of my own tutor, giving feedback and pushes me to do more. One thing that I want to defend about my journal is the colorization. I deliberately use black and white as my color palette, not because I am bad at choosing a color, but I want to express the binary language of computer, which is expressed in 0 and 1, black and white. The generative line works are there to express the potential and complexity of computation design. Lastly, as a personal reflection, I am really lucky to have this subject. Throughout my study, I always search, what does it mean by aesthetics? What is architecture? What makes a design good? I used most of my summer to contemplate, redesigned my previous studio works, which is exhibited in the introduction page. I was in the midst of my struggle and contemplation, and this studio provide me a clearer path on what I thought is true of architecture. In parallel, I also learned the history of Modern to Postmodern Architecture, and I found Mies to ask the same question as me, yet he found it. I think I have found the answer to my question, but it needs to be refined, it needs to be shaped more, besides, I am still a student, and student I will be for my whole life, learning new things everyday while the world evolves to the future. The subject really introduces me to the architectural practice that I think I would use in my professional career. Although the next step after this is to find experience, I really found that Grasshopper and Design Computation to be intriguing. All of this was amplified when I joined the lecture by Achim Menges few months ago. It really opened my eyes on the potential of computation design, and drove me to really develop my computational skills. I know my journey is far from finished, but every semester, I am able to collect another piece of the puzzle of life, and I hope one day I can see the puzzle, finished, with a smile on my face.

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