Architecture Design Studio: Air Folio 2013

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ABPL30048 STUDIO AIR 2013 SEMESTER 1 STUDIO MICHAEL & ZAC JUNHONG HUANG

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C O N T E N T S

IN T R O D U C T I O N

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P A R T A. C A S E F O R I N N O V A T I O N A.1. ARCHITECTURE AS A DISCOURSE A.2. COMPUTATIONAL ARCHITECTURE A.3. PARAMETRIC MODELLING A.4. CONCLUSION A.5. LEARNING OUTCOMES PART A REFERENCES

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P A R T B. D E S I G N A P P R O A C H B 1. DESIGN FOCUS B.2. CASE STUDY 1.0 B.3. CASE STUDY 2.0 B.4. TECHNIQUE DEVELOPMENT B.5. TECHNIQUE:PROTOTYPES B.6. TECHNIQUE PROPOSAL B.7. ALGORITHMIC SKETCHES B.8. LEARNING OBJECTIVES AND OUTCOMES PART B REFERENCES

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P A R T C. P R O J E C T P R O P O S A L C 1. GATEWAY PROJECT: DESIGN CONCEPT C.2. GATEWAY PROJECT: TECTONIC ELEMENTS C.3. GATEWAY PROJECT: FINAL MODEL C.4. ALGORITHMIC SKETCHES C.5. LEARNING OBJECTIVES AND OUTCOMES PART C REFERENCES

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I N T R O D U C T I O N

Hi, my name is Junhong Huang, a 21 year-old Chinese student doing the third year bachelor of Environment degree in the University of Melbourne and major in architecture faculty.I have much passion in architecture, not only because of designing those fancy looking piece of work, but I also believe in architecture could influence how people communicate with the world, which remains great value to human society. This subject plays a significant role in a technological position, the modeling techniques in some way break the constraints of hand tools and provide infinite outcomes, which I found this subject valuable. I hope through this whole semester I can explore further above the ground level and achieve something amazing.

As a third year architecture student, after engaging with the fundamental courses I realize architecture is not simple art work. Numerous issues could be raised such as the structures,context and experiences. Making architecture demonstrates our understandings about the relationship between building itself and all surrounding events.

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Previously I was engaged with some digital design tools such as AutoCAD, Rhino, Sketchup. They are all inspiring and practical.

Furthermore, after understanding the specific focuses of different programs we can chose the more suitable tool according to different approaches and work efficiently. I am very interested in exploring parametric design especially producing forms and geometries by folding, decomposing, lofting and panelizing.

Virtual Environments has provided us a brief introduction to use CAD to create forms that were difficult to present simply by hands. When we were presenting the models I was amused by the variations of forms. Virtual Environments has brought theories into practice. I experienced the process of raising a concept, setting initial designs, converting into 3D models and fabricating full scale real models.

However, making lanterns was not similar to architecture and that was just the initial knowledge for us to step in this profession.

Computerization establishes a whole new way of knowing architecture and its design process. Readings of this week have taken us deeply down to explore the design strategies beneath digital technologies.

Analysis of how do all the design technologies work at a professional stage enables us to understand the working principles, which I think we may no longer just use computers as tools. They can be inspirations, providing extraordinary possibilities, especially the parametric forms that I am interested in.

By introducing this, the term ‘algorithm’ is brought as a rather fresh idea to me. If we can comprehend this concept, we are by no means residing what the technology provides us, instead, we can play our rules by understanding the principles of this particular method.

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ICD/ITKE Research Pavilion 2012

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PART A. EXPRESSION OF INTREST STAGEI CASE FOR INNOVATIONS - Form-driven approach can motivate reasonable architectural discourse.

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P A R T A. C A S E F O R I N N O V A T I O N A.1. ARCHITECTURE AS A DISCOURSE

F o r m -g o v e r n e d S p a c e s

The definition of the term ‘discourse’ says it ‘describes a formal way of thinking that can be expressed through language’. Through enormous period of time the changing opinions revealing architecture reflect the depth of people’s thinking.

Specialists consider architecture as art only concern the appearance (façade) and ornaments of them and ignore the functional properties of buildings.

(1) Nowadays, studies of architecture jump form ‘plains’ to a multi-dimensional sense, It discovers the inner properties of architecture. How we review architecture totally changes our way to design them so we should no longer use computers as pure tools but to gain abilities to analyze how the tools work.

Thinking deeply and critical is always beneficial.

My point is; I regard architecture as form-governed spaces that define social and cultural values. The form design process should be distinct form simple sketch by hands because specific forms are made due to practical functions. Traditional design brief somehow limits the form making process but with the help of parametric design tools we can easily generate variations to decide our brief. Formgoverned spaces convey architectural discourse with the geometry, structure and spatial effect. In the Gateway project I will put focus on the form making and how does the form create interior spaces which may express some meanings. Later precedents will mainly study the form making processes and analyze the spatial relationships with the forms.

The cooperation of structural optimality and form generation becomes crucial and always be in order to design true architecture in my point of view. The BAMBOO for Naiju Community Center and Nursery School is an example of the rational thinking of presenting form with rigid structure. As a result, the interior space is given the sense of safety and stability.

The cooperation of structural optimality and form

generation becomes crucial and always be in order to design true architecture in my point of view. The BAMBOO for Naiju Community Center and Nursery School is an example of the rational thinking of presenting form with rigid structure. As a result, the interior space is given the sense of safety and stability.

Observing from the outside, this shelter can be simply identified as a surface structure. But it is this elaborate surface which dominates the entire structure as a shelter. The shell dome and vault were made of reinforced concrete with woven bamboo molds; this fluid looking of shape quickly reminds me of the concept the weekly reading discussing folds, bodies and blobs. The characteristics of blobs are well presented in this building: 1) the sense of movement; foldings of the concrete surface establish a floating and unstable experience, but with the latticework of bamboo bending underneath the structure becomes quite tightly connected. It is revealed as organic with the shape folds, melts and bends. 2) The ability to absorb and incorporate objects, even if the whole building is a solid skin, it constructs a well enclosed space with several irregular curved openings which can be used as windows or entrances. This creative design is giving its own identity to the community and tries to incorporate people as many as possible. 3) Infinite systems act visually as a singular form, this photos show clearly the inside structural member (bamboo lattice), and with all the concrete folds cooperate strongly as a coherence.

Such fluid structure can be done by digital method conveniently, the grid shells were effectively produce by the parametric CAD design.Other works done by this talented Japanese architect also show the various experimentation about creating blob aesthetics. For instance, the Galaxy Toyama Gymnasium and the Glass station are also roof structure enclosed buildings, the fluid system applied on the two building performs singular as a unity outside and contains complex relationship inside.

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BAMBOO for Naiju Community Center and Nursery School Chikuho Town Fukuoka, Japan, Shoei Yoh Hamura

‘The evolution of my work has been seen in technology first, natural phenomenology, then next city planning and finally, accordance of Japanese mentality and ambience.’(2) - Shoei Yoh Hamura

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P A R T A. C A S E F O R I N N O V A T I O N A.2. COMPUTATIONAL ARCHITECTURE

In this week the concepts of computerization and computation are introduced. The CAD design strategy, which refers to computer aided design, infuses a great effort into visualizing physical models and creating parametric geometries. However, what makes computation significant is that it potentially changes the conventional design process. I agree that CAD has redirected our understanding of design, it provides us flexibilities and efficiency but those are not recognized as the evolutionary meaning of the technology. Without underlying the algorithm informing how the digital software works, computation is ‘just a tool and remote from the real business of creative design’ (3). In order to develop a deep understanding of the algorithm behind the computer screen, the grasshopper plug-in actually helps me a lot.

We make geometries by ‘calculations’ not by ‘drawing'. For instance, when I draw a circle in Rhino I use the circle tool to drag the curve of whatever size I want. In contrast, grasshopper requires us to set a center point first, and then set the radius to create the circle. What interesting is, with grasshopper I can easily change the circle sizes by dragging the number slider which control the radius while with Rhino every time I want to make a different size circle I have to repeat clicking the circle tool and dragging.

In other words, if we do not realize the inner process of CAD strategies we are just used by programs instead of using them.

Breakthrough occurs at this point, that is, whether computation can free our creativity depends on how we use the revolutionary methods and if we can dominate the core ability to program, CAD will definitely become the useful tool that removes the constraints of our creation, which leads us to the computerization stage. The tradition follows the ‘brief-analysis-designrefinementoutcome’ line which in some extent limits designer’s imagination.

Computerization provides creativity freedom since it ‘serves’ design spaces in architects’ minds even before the brief is set.

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BLOBWALL, GREG LYNN F3

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P A R T A. C A S E F O R I N N O V A T I O N A.2. COMPUTATIONAL ARCHITECTURE

Pre-design prototypes somehow help clients establish rational and practical brief. Design is not only about finding a solution but also seeking potential problems to refine the outcome. This also means, a design brief should not be fixed and computation can visualize preliminary possibilities, that is, the real application of CAD tools in my point of view.

Lawson Bryan in his journal announced ‘CAD might conspire against creative thought […] by encouraging ‘fake’creativity’,(4) which I object to. The blob wall construction examines the materiality and geometry formations as well as structural performance. The photo shows the machine cutting the bloblike wall component; this new manufacturing and fabrication solution are both enabled by CAD tools. Above all, this method creates values which are distinct from traditions so it should not be fake.

Either way, it is inevitable that CAD tools will strike into the core of architectural industry since they make up the deficiency of paper works. Especially the architecture industry connects tightly to economy and selling the ideas to clients remains more critical so a comprehensive and visual presentation will be more convincing.

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Robot fabrication

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Guggenheim Museum Bilbao, Spain, 1997 Frank Gehry Paper architecture would not come into practice without computation, this so-called computerization process advance generating ideas before the brief. The creator of this form driven strategy is Frank Gehry. He usually crumbles paper and sketches casually to create messy geometries and passes his paper models to engineers and construction designers, which can be revealed as irresponsible but the crucial point is digital tools play a extraordinary role in visualizing his abstract prototypes. The building was completed in 1997 and arouses local tourism and economic growth immediately, which makes it successful by giving the city its own identity and civic pride.

The shape of the museum echoes the native ship industry with the curvy lines waving in the air and is seem like a giant cruise floating in the center of the geocultural triangle. A cutting-edge computer aided design was applied to create the smooth surfaces, which explored the materiality ability of glass, steel and titanium metal. The disorder and deconstructive sense of the building does not loose its structural rationality the digital program calculated the possibility of each mass. The choice of the material also dominates the effect of light during days and nights.

It is fair to say that this building is mainly driven by forms and but also partly by material and structure. The Guggenheim Museum Bilbao is a convincing precedent which combines the designer’s subconscious rough sketches, abstract physical models and building program together, in other words, a good enough example of computerization.

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It is inspiring that the form making process took place at the very early stage, Gehry’s orginal rough sketch represents an irregular form which seems with no relations to the context.

However, the exploration of this irregular form followed specific structure and the material selection represented the characteristics of the form. It seemed like the design process was ‘free‘ from the brief and the context but but against it.

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'I made ever bigger and bigger models; I did new elements and new pieces to the puzzle. Once I was on the right track and had appointed to where at my lead. I started to look at the various parts in more detail. They developed in their tern, then when I went back to the rectangular box-like faces and looked at it then I started to change its form until I reach the certain stage where I stop because I felt that was it.’ (5) - Frank Gehry

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Rough sketch of the Guggenheim Musuem form Gehry

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ICD/ITKE Research Pavilion 2012, German I am interested in form driven design project and obviously bio-mimicry contributes a lot to architectural form finding. The ICD/ITKE (the Institute for Computational Design and the Institute of nullBuilding Structures and Structural Design at the University of Stuttgart) Research Pavilion 2012 is an experimental program depending on multi-disciplinary involvements include engineering, robotics, biology, construction and architectural design. The form was inspired by the lobster’s exoskeletons which contributed the material and structural explorations for this modern pavilion. Fully robotic fabrication was utilized and such advanced manufacturing techniques enhanced the material performance as in this example the main materials were carbon and glass fiber. The integration of the form generation methods, the computational simulations and robotic manufacturing, specially allowed the development of a high performance structure: the pavilion requires only a shell thickness of four millimeters of composite laminate while spanning eight meters.

Without computer aided design tools it was difficult to produce this filament winding and thin surface standing stable with reasonable structure. Analysis of the lobster shell led to the structural design of the fiber orientation, arrangement and decided the thickness and stiffness of the skeleton, which in particular affected the load distribution of the pavilion. Another influential issue was the onsite robotic fabrication, which is regarded as an evolutionary solution to produce manufacturing efficiency and strengthens the connection between architectural design and computation. The experiment was valuable since it suggested a sounding example of form finding and applied new fabrication system against tradition, which definitely should not be considered as ‘fake’ creativity.

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‘Form finding, material and structural design were directly integrated in the design process, whereby the complex interaction of form, material, structure and fabrication technology could be used as an integral aspect of the biomimetic design methodology.’(6)

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P A R T A. C A S E F O R I N N O V A T I O N A.3. PARAMETRIC MODELLING

Ironically speaking, we do not even fully understand the inner properties and values of historical architecture; again we are ‘pushed’ forward by the Studio Air subject.

On one hand, we are taught that classical architecture dominated the true principle of architectural form, like Laugier ’s Primitive Hut and Gottfried Semper ’s Four Elements of Architecture, which in my opinion, tried to simplify the complex geometries and structures into a clear, direct way. On the other hand, the significant influence of CAD especially the parametric design somehow opposes the traditional methods of thinking architecture.

However, the debate of the Patrike Schumacher’s parametricism and the ‘defenders’ of architectural style seem to put the situation into two extremes.

In my opinion, the importance of style is no longer convincing after the explorations of space, material and structure. What remains significant is the whole process and way of thinking beneath the particular ‘style’.

For parametric design, Weisstein defines

parametric as ‘ a set of equation that express a set of quantities as explicit functions of a number of independent variables, known as parameters’’.(7) Parametric design becomes unique since it represents the explicit connection between parameters and the piece of geometry in the end and the connection makes architectural discourse more reasonable.

I reveal the above the true value of this revolutionary CAD strategy. In contrast, how the fluid and organic shapes echo the nature and the impressive appearances of the parametric forms should be included in a different category.

I do not mean style is nonsense,but for the past few centuries the term ‘style’ was likely given the title of ‘crime’ by the modernists. They considered the classical orders, symmetrical plans and ornament the constraints of architectural development. The famous American architect Louis Sullivan thought that architectural forms should follow functions, which also means that architecture serves people and the society and this idea brought us back to the origin of architecture.

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Thinking of an example of a simple shed created by our ancestors, it was made because it served human needs for shelter and safety so the form for the shed should provide strong protection from outer threats like the weather and beasts. It is similar now and the difference is the functions and needs are always changing through time.

In my opinion, the reason why Sullivan did not use ‘style follow function’ might be the word style traditionally was thought to be related to appearance and look. Nevertheless, the word ‘form’includes not only the appearance but also structure and spatial arrangement.

Back to the discussion of parametric design, what I try to indicate is that the major objection towards Schumacher about his setting apart parametric design and parametricism and predicting parametricism would take over other architectural style in the visible future, might be caused by Schumacher ’s definition of style and parametricism.

The quote from his journal says ‘Outside architectural circles, ‘style’ is virtually the only

category through which architecture is observed and recognized'(8), demonstrates his opinion of seeing style as look and this is superficial enough to be objected by the voice ‘Exploiting technology to create new forms might seem revolutionary on the surface, but without broader social aims the movement is likely to quickly fall out of fashion’(9). Their debates even encourage my initial argument about architecture as a form-driven space that defines social and cultural values since architectural form should balance the relationship between appearance and structure, which then create a harmony i nteri or space for the users.

Even in this new decade of the 21st century, architecture should still serve particular functions to different users. Creating pretty shapes is not a sin, but only reasonable forms that can communicate social values and environmental efficiency remain in the mainstream. Parametric design is definitely not a method simply generates complex geometries, but again, a logical way of making forms with algorithms. It is also the tendency for architectural discourse.

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The Galaxy SOHO, Beijing, China, 2009-2012, ZHA The Galaxy Soho is a built project invested by SOHO China and designed by ZHA in 2009. Multiple purposes are contained in this cocoonlike massive structure such as offices and retail stores. The ambition is to make this building the landmark of the Beijing CBD.

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The Galaxy SOHO, Beijing, China, 2009-2012, ZHA

The four positive principles of parametric design that Schumacher talks about are performed by this building (come on...he works for Zaha Hadid). Softness is represented by the curvy lines and the white color avoids the felling of cold and sharpness. All floors are not simply repeated and the floor area is changing in order to make the building curvy. Hadid got this shape by viewing traditional Chinese terrace field.

The concept of designing this architecture is to construct an inner city according to Hadid and SOHO China CEO. The relatively enclosed structure with public square located inside was also inspired by the concept of Chinese courtyard house. The application the various green architectural technologies such as the curtain wall system and highefficiency heating/air conditioning systems, dedicates the cooperation of multiple systems. This parametric blob provides the new possibilities for social engagement and form making. The value remains significant that parametric design should not be limited by the ‘style’, it can also explore special relationships, material performance. Like the Galaxy SOHO its play of spaces is quite interesting: the building is open up and people can move through it; indoor spaces are provided everywhere on each floor and it seems like Hadid wants to create an interior within another interior.

The parametric design help architect go deep inside the form making process. In order to present the high density of this organic mass, ZHA used parametric design tool easily to break the cocoon into floor pieces and assembles the building like webs together. The remarkable properties and flexibilities that parametric design provides should not be underestimated.

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The Aviva Stadium, Dublin, Ireland,Populous & Scott Tallon Walker

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Left: Underlying geometry.

Right: Rectangular array of panels over surface.

Left: Brick bond setting out.

Right:Array of panels with varied numbers in each bay.

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Parametric modeling software can also engage in the multi-disciplinary approach through the entire design and construction process. The next few paragraphs introduce the Aviva Stadium in Dublin designed by Populous and engineered by Buro Happold.

A single model was shared between architects and engineers, the better refinement and evaluation can be achieved by this shared model. Design communication among different parties proceeds the exchanging of ideas and in this case the parametric model acts as a bridge connecting those opinions and views to express its discourse. (10) For example, the parametric model was passed to the engineer analysis team to calculate the structural performance and achieve a satisfied roof support system. Thus, parametric modeling provided control to establish a reasonable, stable structure, as discussed in lecture also.

The parametric approach enables the geometry control and in this example the cladding system was analyzed and developed at the same time. What made it important was that the study of footprint of Aviva Stadium influenced the depth, which would determine the maximum size of the building.(11) Figure 30 showall the experimentation and exploration for the cladding roof system and the convenience was provided by the parametric design system.

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‘The structural grid was referenced into the model as a static CAD file which any Microstation user could edit and the changes would be incorporated into the geometric definition.’(12) Left:Water run-off directions.

Right:Visual comparison of warped and planar panels

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P A R T A. C A S E F O R I N N O V A T I O N A.4. CONCLUSION

Without doubt, the computational application on architectural design aids the efficiency, time consumption, and complex g e o m e t r i e s . H o w e v e r, t h e p a r a m e t r i c des ign app ro a c h d o e s n o t o n l y fo c u s on outputting the organic shapes, in my point of view, the true value of the parametric design strategy is the concept of algorithmic thinking to ‘calculate’ the digital models.

Grasshopper which originally was named e x p l i c i t h i s t o r y, d r e w a t t e n t i o n s f i r s t l y by its ability to record the generation process of a digital model, the history was c l e a r l y s h o w n i n t h e p r o g r a m w i n d o w.

This technology enables people to think with principles and such principles allow specialists from different authorities share their specific knowledge and communicate with each other, which I regard this as the motivation of rigid structures and complex forms, benefited from parametric design.

The fascination of computation and computerization in some extent transforms the design tradition; multiple prototypes can be produced before clients’ brief as an inspiration and also helps clients to put problems in order to reach satisfied solutions.

The message should no longer be sent by architecture’s appearance or ‘style’ since architecture nowadays is using a universal language, and cultural differences somehow lead to gaps between architectural communications

I agree with the concept of form-driven architecture but I should also indicate that form-driven follows three principles: 1) Form is not the only concern but rather a motivation, like Frank Gerry’s Guggenheim Museum Bilbao. 2) Form is not all about appearance but a coherent representation about structure, systems cooperation and material performance, like the Aviva Stadium. 3) Parametric approach should be applied in form-driven exploration.

Previous examples all discuss the potentials that form explorations can provide, the various forms are also aided by parametric modeling tools. For example the ICD/ITKE research pavilion was based on form finding however the form was not build from casual imaginations. The web like geometry and biomimetic shape had strong connection to material selection. Through this, a stable structure was produced and the sheltered space was also defined to express a natural feeling with the organic form.

For the Gateway project I would like to explore how multiple experiments of the parametric models affect the design process and to find out is there any constraints for a form-driven motivation.

M o r e o v e r, u s e t h e G a t e w a y p r o j e c t t o convey a universal architectural language but relate to a particular social context.

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P A R T A. C A S E F O R I N N O V A T I O N A.5. LEARNING OUTCOMES

Through the practise of parametric design tools, in this case, grasshopper,I found the potential constraints of parametric design. The abstraction somehow limits the geometry generation. For instance, if I have a original idea about the form of the design, I should also figur out the algorithms which are needed to ‘calculate’ the shape in grasshopper instead of dragging directly in Rhino. Or if I generate the shape in grasshopper firstly without any ideas, even though I make some sort of complex geometries, the outcomes might not be the one I want, which actually makes the parametric design process less efficient. In addition, it is quite difficult to share digital parametric models since they contains lots of information and they are hard to be understanded by other designers.

Fortunately, I think the above problems would often appear to the beginners and most of them are just technical issues.

The exploration of grasshopper is still exciting enough!

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P A R T A. C A S E F O R I N N O V A T I O N PART A REFERENCES

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http://www.achimmenges.net/wp-content/gallery/icd-itke_rp2012/icd-itke_rp2012_06.jpg http://24.media.tumblr.com/2e19b0d8f94475b16f55bfc133852d92/tumblr_mg24fcbGXl1qhymn9o2_500.jpg http://glform.com/environments/blobwall http://glform.com/environments/blobwall http://www.wallpapersshop.net/wp-content/uploads/2012/09/Guggenheim-Museum-Bilbao.jpg http://contornobasico.files.wordpress.com/2011/05/boceto-bilbao.jpg http://museumviews.com/wp-content/uploads/2010/09/Guggenheim-Museum-Bilbao-Oren-Safdie-.jpeg http://www.achimmenges.net/wp-content/gallery/icd-itke_rp2012/icd-itke_rp2012_09.jpg http://www.zaha-hadid.com/architecture/galaxy-soho/ http://www.zaha-hadid.com/architecture/galaxy-soho/ http://www.zaha-hadid.com/wp-content/files_mf/galaxy_soho_zha_1210_6481.jpg http://www.zaha-hadid.com/wp-content/files_mf/galaxy_soho_zha_1210_6174.jpg http://www.zaha-hadid.com/wp-content/files_mf/galaxy_soho_zha_1210_5805.jpg http://upload.wikimedia.org/wikipedia/commons/b/bc/Aviva_Stadium_by_Night.jpg Hudson R.,Shepherd P.& Hines D., Aviva Stadium:A case study in integrated parametric design, p193.

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Williams R., 2005, Exploring Visual Culture, p102-116.

Japan-architects, ttp://www.japan-architects.com/ja/projects/detail_thickbox/1880/plang:en-gb, viewed 2013/3/10 Frazer, John H, 2006, The Generation of Virtual Prototypes for Performance Optimization,in GameSetAndMatch II: The Architecture Co-Laboratory on Computer Games, Advanced Geometries and Digital Technologies, ed. by Kas Oosterhuis and Lukas Feireiss (Rotterdam:Episode Publishers), pp. 208212.

Lawson, Bryan 1999.Fake and Real Creativity using Computer Aided Design: Some Lessons from Herman Hertzberger, in Proceedings of the 3rd Conference on Creativity & Cognition, ed. by Ernest Edmonds and Linda Candy (New York: ACM Press), pp. 174-179 Documentation of the Guggenheim Museum, http://www.eeeetop.com/article-482-1.html, viewed 2013/3/16.

Menges A.& Knippers J., 2012, ICD/ITKE Research Pavilion 2012, http://www.achimmenges.net/?p=5561, viewed 2012/3/20 Weisstein, 2003, 2150.

Schumacher P., 2010, Let the style wars begin, http://www.architectsjournal.co.uk/the-critics/ patrikschumacher-on-parametricism-let-the-style-wars-begin/5217211.article, viewed 2013/3/20.

Mayer A. N., 2010, Style and the Pretense of 'Parametric' Architecture Hudson R.,Shepherd P.& Hines D., Aviva Stadium:A case study in integrated parametric design, p189.

Hudson R.,Shepherd P.& Hines D., Aviva Stadium:A case study in integrated parametric design, p191.

Hudson R.,Shepherd P.& Hines D., Aviva Stadium:A case study in integrated parametric design, p190.

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(4) (5) (6) (7) (8) (9) (10) (11) (12)

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F1 Voussoir Cloud, California, IwamotoScott, 2009

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P A R T B . E X P R E S S I O N O F I N T R E S T S T A G E II DESIGN APPROACH - Parametric design strategies have generated solutions for form generations, performance and effect analysis of digital models.

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P A R T B. D E S I G N A P P R O A C H B.1. DESIGN FOCUS

Tessellation

My previous focus on form-driven architecture design was still at the first stage of my architectural argument for the Gateway project. In part B, this focus will be narrowed down into a more specific topic.

Architecture is about form, space and experience, in order to combine all these issues I need to select one technique to establish a creative form so that it can produce spaces with diverse properties. Such form should have flexible geometry and be easy to alternate especially applying the design process on parametric design. My interest also concludes presenting unusual and stable structure to enhance the reasonability of the form. Nevertheless, parametric models digitize our imagination and endow alternative design outcomes, but the digital models do not guarantee they can perform validly in a practical sense. The structural stability becomes my next concern and my group chose the tessellation topic in part B; later examples and research will explain the reasons why this design approach is fitter for the project.

The structural skin not only expresses the functional discourse of architecture but also layouts the enormous possibilities done by CAD technologies.

Focuses on structural skins include parametric design practices and how to produce a rigid and functional form. Ways of reaching structural skin design vary, in order to explore my discourse argument further, which is architecture as form-governed space, in this case the form will stick to the structural skin and I will put my particular interest in one of the many skin

generation techniques – tessellation. The reason why I choose this topic is that the tessellation approach is trying to break apart the single object or surface into pieces and those segments can provide more flexibility to form creations because tessellation surfaces are made up of small size panels, with the joints and gaps the tessellation skin seems easier to bend, fold or twist. However, the fabrication of tessellation models requires special consideration about connection details between panel segments since carelessness will let designers ignore the gaps between panels a n d s t r u c t u r a l s k i n m a y n o t p e r f o r m v a l i d l y.

The performance criteria for the tessellation skin study is seeking the balance of form making and structural optimization. ‘Performance as a paradigm enables the study of nature and the built environment as active agents, rather than as passive context’.(1) Since parametric design tools enable us to create various tessellation styles, the solution to narrow the possibilities is to broadly set the performance optimization.

Architectural tessellation is defined to generate multiple dimensional polygon meshes; the patterns can be repetition of single geometry or alternative shapes combined without gaps or openings in order to form a surface. In a practical sense, the tessellation skin should acts as a rigid structural member and the form should be created to indicate the structural performance.

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ICD/ITKE Research Pavilion 2011, German

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ICD/ITKE Research Pavilion 2011, German The ICD/ITKE Reseach Pavilion 2011 drew my attention at the first time, this pavilion biomimic the sea urchin’s shell and was aided by computer design tools . The dome-like shell structure is rigid in structure through the connections of extremely thin sheets of plywood (6.5mm).

The analysis of the plate structure applied on each tessellation panel ‘enabled the transmission of normal and shear forces but no bending moments between the joints, thus resulting in a bending bearing but yet deformable structure.’ (2) All tessellation panels are based on the hexagon geometry however their sizes are not constant, the transmission of sizes provides a sense of change and nature. These is inspired to our group’s design concept since my part A discourse topic was about form-driven spaces and in part B I hope our group can explore more in terms of structure, performance and effect.

The installation details and material selection also affect performance criteria and form display in this case. In addition, light effects are critical during the night time. The research pavilion has one large opening at the top of the shell structure, allowing internal light coming out and it would become a eye-catching point for people passing by at night.

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Archipelago Pavilion, Chalmers University of Technology The precision cut steel pavilion also explores the material possibilities.

The laser cut metal sheets had small pieces cut to mimic the star shapes and created interior shadow effects during day time. The tessellation technique is not obvious here but I can still recognize the whole pavilion is tessellated by a number of rolled sheets. In my opinion, the break down of the whole skin into pieces instead of using several rolled sheets combined together provides a more direct presentation of the materiality, installation process and how things work, which was one of the amazing parts of the tessellation geometry. What’s more, the Archipelago Pavilion constructes a relaxed space with different perspectives, which is something our group saw as an inspiration for the next stage.

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DESIGN CONCERN

‘Wyndham City is seeking responses from design professionals for the design and documentation of an exciting, eye catching installation at Wyndham’s Western Gateway.’ (3) - Western Gateway Design Project Brief, 2011

After the initial research and exploration, our group has selected two area that we concerned the most to push us forward to the design innovation. The Gateway design project for Wyndham City required us to design an eye-catching and cultural associated structure on the Princess freeway. In our point of view, we would like to design a form that performed stably and used the different sizes tessellation paterns to reflect culatural values of Wyndham City.

• Tessellation paterns • Structural performance

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P A R T B. D E S I G N A P P R O A C H B.2. CASE STUDY 1.0

F6

Voussoir Cloud, California, IwamotoScott

‘Voussoir Cloud explores the structural paradigm of pure compression coupled with an ultra-light material system.’ (4)

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Voussoir Cloud, IwamotoScott, California IwamotoScott is a studio founded by Lisa Iwamoto and Craig Scott in San Fransisco. Their landscape work ‘Voussoir Cloud’ was designed for the Southern California Institute of Architecture Gallery in Los Angeles.

The Voussoir Cloud is formed by thin laminated wood vaults and columns and such organic form and stable structure can not be designed without computational tools. The wood sheets were folded along curved seams to create three dimensional petals which were installed to produce the vaults and columns. CAD was applied to calculate the curvature of each wood petal since each piece was distinct from others and the geometry details should be precisely determined otherwise they would not connect perfectly to establish a rigid structure. The structure of this landscape is not fresh idea, what makes it special is the attempts to represent vaults and column with conflicted materials and forms.

They were inspired by the hanging chain model of Antonio Gaudi and examined the model to find the efficient compressive load bearing structure. Such form-driven structure creates a special light effect and a public space is defined in a sense apart from traditional vault arcs.

Unlike normal tessellation patterns which stay in a more two-dimensional surface, the Voussoir Cloud tessellation patterns are more likely threedimensional, which has provided another pattern option for the design project. The structure testing remains critical in the process since the material selected is very thin. In our Gateway Design Project, our group members suggested we should somehow use parametric tool to simutate the structural performance. The Case study 1 has provided the instruction by using the Kangaroo plug-in for grasshopper.

Patterns generation process F9

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Light effect

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MATRIX EXPLORATIONS Changing

existing

parameter values

1

Setting different points and geometry types

2

3

Applying different shapes on the generated surfaces

4

The following matrix explores the different outcomes that parametric tools can generate with similar definitions by changing parameter values, base geometries or adding definitions. The Kangaroo plug-in can effectively simulate conditions that the structure is under specific load. In addition, without Kangaroo, the Rhino models remained plain, however, the Kangaroo could place the geometry lines with strings, which helped to produce forms with curvy lines and surfaces, in other words, looked more real.

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The four selected

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EVALUATION OF CASE STUDY1 MATRIX

These two were chosen because their curvy geometries reflected more organic properties. With the application of the Kangaroo, they performed like in a practical sense.

With the second one I set seven points to creat seven vaults, the transmission of patterns on the surface represented a changable manner of this structure. The variety of shapes in the second model displayed diverse shape sizes for tessellation patterns, which was one of our group’s design concern at the previous stage.

I made these two similar models according to the project site. Since I wanted to construct a structure spanning across the freeway, which was around 20 meters long.

I set a long length geometry as the region intersection with the voronoi generated by the selected points.

Then I selected the mesh surfaces of the first model and extrude dthem to create thickness of each surface, which made more sense for fabrication.

The Case Study 1 project helped us explore the performance simulation of a structure and we could keep using it as one of our design focus in the next step. It also developed my discourse topic further: structural performance analysis can critic unresonable form.

Additionally, the changing sizes of patterns would become the form we hope to achieve.

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P A R T B. D E S I G N A P P R O A C H B.3. CASE STUDY 2.0

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FABPOD PROJECT, RMIT DESIGN HUB, 2012, MELBOURNE

‘The project combines research into the sound diffusing properties of hyperbolic surfaces, utilising a combination of digital modelling and mass customised CNC prototyping and architectural traditions of craft production and material effects.’ (5)

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Fabpod project, RMIT Design Hub, 2012, Melbourne The Fabpod tries to present an exciting space for the Design Hub users by providing good sound diffusing properties and the privite meeting place. Two issues are attractive to our group: the hyperbolic surfaces attached to the tessellated frames and the installation details of each frame and how they connected. The materials selected for the tessellation pieces were timber, plastic and metals that have good sound diffusing properties. The circle cut holes on the panels provide interesting light effects as well. The diverse performance of all the materials enriched the design purposes

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We tried to reverse engineering this model space, the technique to create the hyperbolic surface is the metaball command. However, we failed to do the same digital model as the the Fabpod so we gave up this precedent and changed to the Haxigloo project. Without doubt, the Fabpod still remains valuable to our design project.

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Hexigloo pavilion, Bucharest, Romania, 2011,

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Hexigloo pavilion, Bucharest, Romania, 2011, The Haxigloo Pavilion is one of the good example of tessellation structure. The inspiration of this design is the honeycomb and the cellular structure of honeycomb provides structure rigidity to the pavilion. ‘From concept to the final product, the process went through following steps: mapping a hexagonal grid on a pre-modeled surface (14 rows + 14 columns, resulting in 196 elements), extruding the mapped hexagons on the Z axis in order to create a binding surface between the components and finally adding rigidity to the overall structure.’ (6) This pavilion’s effect focuses on its interior space, the cone like funnels filter light into the interior.

There is also the contrast between the smooth external surface and the intricate interior which impresses people when they enter th space.

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ONE Creating hexagon grid patterns in rhino and reference them in grasshopper

TWO Set two random points on the grid patterns and produce vector point regards the two set points

THREE The hexagon patterns

FOUR Loft a surface according to the geometry shape of the hexigloo

FIVE Using the surface morph command and apply the transition pattern on the surface, offset them to get thckness

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P A R T B. D E S I G N A P P R O A C H B.4. TECHNIQUE: DEVELOPMENT

‘Search is a process we engage in when the outcome of an action cannot be fully ascertained in advance. It consists of finding, or developing, candidate solutions, and evaluating them against the goals and the constraints.’ (7) - Kalay, ‘Architectures New Media‘, 2004

Through the previous three developing stages our group has narrowed our design focuses down to two main issues, which was the structural performance and transition of tessellation patterns. As a simple reaction to the Gateway design brief, the structural precedent we chose was the arch form. In order to engage the drivers as much as possible the double-arch structure would be developed.

The methods of searching solutions introduced

by Kalay including depth first, breadth first and best first are applied at the step. The matrix on the right explain the four alternative ways to develop a candidate solution (breadth first) before any further logical conclusions were taken (depth first). As long as all the possibilities were listed, the evaluation of the best one will be chosen for futher development (best first). (8)

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These models were made by using the contour command to divide the curves or arches, then using a curve divider to sepertae the contour lines into points of the same distances. By using the points generated, I applied differnet geometries like cirles, triangles, hexagons on the contour lines. Some outcomes looked like I successfully made patterns arranged along the surface I made. However, when I turned on the front view in Rhino, I could see all the patterns were placed on the same plain, which meant they were not tessellated.

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EVALUATION OF THE FIRST EXPLORATION

The sizes of all the patterns are too small, which makes it hard to tessellate. Also, the definition of tessellation requires a fine connection between every tessellation patterns without gaps. This model totally fails the criteria.

This model has the same problem with the last one, the sizes of the patterns are too big to be tessellated.

In addition, all the shapes are parrellal to each other at different heights. The tessellation is the combination of all the pieces without gaps at the joints and form one single structure, skin or volume.

With this model constructed with the arch surface, the arrangement of the circles is satisfied since they are arranged allong with the direction of the surface. But this does not fit our design purposes for two reasons: firstly, the structure is too enclosed and simple; secondly, there is no transition in patterns, all we get is repeating the same shape.

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Obviously, we should take further development of our design concept so we related the Gateway design to the Wyndham City, at the same time, learning more algorithm definitions. The Gateway in our opinion should not only be eye-catching but reflects the inner properties behind the existing form. The Wyndham city has a rather short history: ‘the Wyndham District was first incorporated as a local government entity on 6 October 1862. Under changes made to Local Government legislation, it became the Shire of Wyndham on 7 March 1864 and was renamed the Shire of Werribee on 15 December 1909.’ (9)

CONCEPT

The City of Wyndham has started its rapid development since the 1990s and its economy mostly relies on local agriculture. Wyndham City is seeking for further development in a range of aspects including communities, social reputations, environmental sustainability, tourism etc. We considered such a developing city reflects the properties of nature, change and unknown possibility so we use the metaphor of flying wings and the structure of double arches with the two ends not touching the ground. Such organic shape can have the floating sense which also contrasts with the flat and smooth landscape of the site. The following tabs represent our new focuses and concepts at this stage.

CONTRAST FORM VS LANDSCAPE NATURE VS INDUSTRY PATTERNS TRANSITION MATERIALS

PROPERTIES

ORGANIC FORM RIGID STRUCTURAL PERFORMANCE

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The two definitions we explored in Case study 2 and subject LMS became quite useful for our development. The one above is called the surface morph; it can apply the grid patterns on the surfaces I generate, in this case, the double arch surface. The benefit of this technique is that we can change the grid patterns and create transitions to achieve our goals but the disadvantage is that when we tried to provide thickness for the patterns we can only use the extrude command and the extrude direction remains the same.

The second definition is the box morph, compared to the first one; it can apply box geometry onto the generated surface, which means the grid patterns can transfer to three dimensional geometries. The image at the bottom shows that I applied the hexagon pyramid on the surface. All the pyramids are pointing to different directions which perpendicular to the surface.

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Divided the contour lines and used the divided point as the center of geometries. The sizes of all the patterns are the same and the patterns are not tessellated together along the surfaces.

The command ‘surface morph‘ was used for these models, this technique fixed the problem that the patterns could not be arranged according to the surface orientation.

However, the grid patterns were not tessellated as well.

MATRIX EXPLORATIONS 63

They were also generated by the surface morph definition, but the grid patterns used for these models were made by the voronoi command and all the patterns were tessellated together.

Box morph can apply a three dimensional geometry on the surface, as a result, the tessellation patterns had thickness in both directions.

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EVALUATION OF THE SECOND EXPLORATION

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These two models were selected from all the previous design explorations since at this stage they were fittest of all in our group’s opinion. The first one created two shapes in one tessellation patterns - hexagon and circle. At first, we would like to put moveable panels in the circle openings to give the design the sense of change, we would also consider to install LED lights on the moving panels. However, this idea was rejected: firstly, the panel joints were difficult to design, secondly, the panel installation had less relation to the Wyndham city context, thirdly, the moving lights on the panel might distract drivers at night time.

Even though the extruding command can provide the patterns thickness, the patterns somehow remained plain from the top view. We wanted to explore more and made the tessellation patterns more like three dimensional geometries.

For example, like the second model, I applied the hexagon pyramids on the surface and the outcome looked more like a solid volume.

However, all of the models above did not satisfy our goal of achieving transition patterns, which was one important factors of our main concept - CONTRAST.

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In order to create transition patterns for our models we searched one definition from Case study 2 which can satisfy this goal. ‘The complex structure of radiolarian was treated as a two-dimensional representation with a hexagonal pattern. Two points control the deformation of individual cells that make structure through a transformation of vectors connecting the vertices of the single cell with the point. The deformation of the grid can be caused by an attraction or a repulsion generated by attractor points.’ (8 Co-deiT 2010) With changing the positions of the two vector points, the hexagon cells would automatically alternate. We could also change the influence factor value to control the transition rate of the patterns.

The patterns transited from sharp edges to more soft edges.

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By referencing Kalay’s ‘search‘ criteria, it demonstrates ’search processes involve two steps: (1) producing candidate solutions for consideration, and (2) choosing the “right” solution for further consideration and development. The process repeats itself until the considered solution is deemed satisfactory in all relevant manners.’(9) This model at this time became the fittest among all.

- All the patterns were tessellated together - The transition patterns showed the contrast in geometries - Patterns had (but only) their thickness in the vertical direction (still quite plain not three dimension) - The transition patterns were made also for structural purpose. The above rough sketch showed that the support points of the double arch require the most stiff support so the the patterns should be denser than other parts of the models to resist the compressive loads

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P A R T B. D E S I G N A P P R O A C H B.5. TECHNIQUE: PROTOTYPES

The materials selected should avoid using the same one since our design concept is CONTRAST we hope our choice of materials in some way can reflect the comparison of natural and industrial aspects. The materials should also follow the structural performance.

The framing system of the tessellation patterns will use the plywood sheets because we want to create the floating effect and the material should be thin and light. Furthermore, the groundtouching points of the structure should use the stable and stiff, heavy material to provide rigid support to the frames. We chose steel for the tessellation frames at those points. The material selection of wood and steel also reflected the contrast of nature and industry.

The image above shows the installation details of the joints.

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FABRICATION PROCESS

The photo on the left was the prototype before the final model fabrication for part B, the framing of the tessellation patterns were very thin so it was not appropriate for us to use laser cut in FABLAB, instead, we found the card cutter was more efficient and the thickness of the card board was easy to fold and stick. In order to make the fabrication process easier, we enlarge the extrude value for the hexagon patterns otherwise the model would be fragile and could not support itself.

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LIGHT EFFECT TEST

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P A R T B. D E S I G N A P P R O A C H B.6. TECHNIQUE PROPOSAL Since Part B requires us to develop the design concept and our algorithm techniques, the focus on site brief including the context was not of the most critical point so far. However, in part C our design should develop further of our concept and follow the context. Regarding the previous discussion, our group’s focuses were mainly about structure and form.

FOCUS

FORM STRUCTURE

According to our research, Wyndham City was originally an agricultural city, in recent year, it started to seek development and build its reputation in public. We consider our design should not only be eyecatching but also express some sort of cultural value or properties refer to the City of Wyndham. The organic form became our first choice and through exploration we made a ‘floating double-arch structure‘, which contrasted with the smooth and flat landscape of the site.

PROPERTIES

ORGANIC FORM RIGID STRUCTURAL

The focus and property issue brought us to the concept of our design argument - the CONTRAST. Our structure tries to contrast different factors for two reasons: 1) the visible contrasts can give direct impressions on drivers; 2) the contrasts should always relate to the Wyndham context since the Wyndham council hope it can use this design to communicate with the public.

The diagram at the bottom shows couples of issues we would like to contrast.

CONTRAST

FORM VS LANDSCAPE NATURE VS INDUSTRY PATTERNS TRANSITION MATERIALS

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P A R T B. D E S I G N A P P R O A C H B.7. ALGORITHMIC SKETCHES The model and our concept should still be refined all the time during the exploration; the contrasts of our design were not obvious and strong enough to tell people what dose it want to achieve. Additionally, we need to test more about the structure performance of the model, even if the 1:100 model can hold itself on ground but in a practical sense our choice of material would definitely affect the structural performance. The other disadvantage of this form is that the tessellation patterns were actually built based on hexagons and there were no thickness of each frame in the horizontal direction. All of above are the problems we need to fix in Part C.

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The screen shot on the right is the effect we want to achieve in part C providing thickness to the tessellation patterns in all directions

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P A R T B. D E S I G N A P P R O A C H B.8. LEARNING OBJECTIVES AND OUTCOMES

Outcomes Outcomes Focus Discourse topic

Explorations

Focus

Outcomes

Concept Focus

Outcomes

Fitness criteria

Final solution

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One of the critical points that differs from the previous design studios is the application of parametric design tools. The algorithm thinking in this part determines the depth of the development process. On one hand, in order to digitize our design with grasshopper we should make sure we understand how to ‘calculate’ the model step by step and use which command. On the other hand, unexpected outcomes always show up when we change the values of definitions and sometimes those unexpected results suit more to the design brief and concept.

There are some other lecture reflections that affect me to form the concept of our design.

The modern movement has shifted architectural value to a more abstract manner, that is, from the application of pure ornaments to some ‘invisible’ properties such as materiality and experience.

Architecture before the 18th century still put a lot of efforts on easily visible objects applied on architecture especially the façade. Such decorations were used as indicators to tell the importance of a building. The overflow of architectural style has become a crime since one particular classical style is easy to copy for example by combining ionic columns, pediments and symmetrical floor plans we might get a Roman temple. However, such product obviously can not express the spirit of its culture. I agree what Adolf Loos indicated in his book ‘Ornament and crime’: ‘ornament was used in traditional societies as a means of differentiation; modern society needed not to emphasize individuality, but on the contrary, to suppress it.’ (10) Similar for the Gateway project, it is not seeking cultural independence to separate itself from a larger context so I think the expression of the proper message will be important.

As inspiration, Moussavi’s quote really helps ‘architecture needs mechanisms that allow it to become connected to culture’ and ‘materiality is therefore a composite one, made up of visible as well as invisible forces.’ (11) Again, the significance of the functional properties is brought up to explain the architectural discourse. Back to the concept of our group’s Gateway design project, the detail of the structural form will be discussed especially the materiality, installation, and structural performance. Even though the tessellation volume in my first impression represented more about appearance and geometry, I found a greater value of this particular topic as I read the case study examples.

- How to achieve particular design intent?

- Might be structural, sustainability - Optimally directed design - Things are not static, result in change - Performance as a paradigm enables the study of nature and the built environment as active agents, rather than as passive context. [...] That active agency is a fundamental characteristic of four interrelated domains: the human subject, the environment and the complex of spatial and material organisation.

Hensel, Michael (2011). ‘’Performance-oriented architecture and the Spatial material Organisation Complex.” FORMakademisk, Vol. 4 Issue 1, pp3-23, - We are engaging with computation Sophisticated properties, visual representation performance, more inform design decisions Understand visually, without engineer - Integrated knowledge back to design process will cost lots of time - Performative design processes may involve - Structural optimization - Use computation to test the natural environment, to provide comfort for users - Make design adjustment and test

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FEEDBACK FROM THE STUDIO PRESENTATION -

The argument for the structural performance is weak Need more simulation about the structural performance Explore how can the simulation affect the tessellation components or form Relate the design more to the Wyndham City The contrasts are not strong enough for example: materiality - timber and steel can both refer to nature other suggestions: plastic, concrete, refletive material, fiber glass the patterns are all based on hexagons, can produce more patterns BRIEF RESPONSE In part C, our focus will be about structural performance since we are designing an actual structure not simply digitize the imagination. The Kangaroo plug-in should be used a lot in the next stage and the performance result will determine the material selection and the installation details which is crutial to tessellation patterns. Instead of using timber and steel, plastic and reflective materials may create other effects relate to Wyndham brief.

The transition in patterns should not be in one direction, we can also try to apply the differences on the pattern thickness to present more contrast.

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P A R T B. D E S I G N A P P R O A C H PART B REFERENCES

F1 F2 F3 F4 F5 F6

http://www.achimmenges.net/wp-content/gallery/icd-itke-researchpavilion-2011/14_view-seated.jpg http://www.achimmenges.net/wp-content/gallery/icd-itke-researchpavilion-2011/03_g-code.jpg http://www.achimmenges.net/wp-content/gallery/icd-itke-researchpavilion-2011/14_view-seated.jpg http://www.achimmenges.net/wp-content/gallery/icd-itke-researchpavilion-2011/24_rh2028-0029.jpg http://designplaygrounds.com/deviants/archipelago-pavillion/2 http://www.archivenue.com/wp-content/uploads/Voussoir-Cloud-by-IwamotoScott-with-BuroHappold-3.jpg F7-9 http://www.archivenue.com/voussoir-cloud-by-iwamotoscott-with-buro-happold/ F10-14 http://www.independentsgroup.net/wp-content/uploads/2012/10 F15 http://ad009cdnb.archdaily.net/wp-content/uploads/2011/06/1309363321-hex-05.jpg F16 http://www.suckerpunchdaily.com/wp-content/uploads/2011/12/suckerPunch_selection-2_front.jpg F17 http://assets.inhabitat.com/wp-content/blogs.dir/1/files/2011/07/Bucharest-Cardboard-HoneycombePublic-Structure-HEXigloo-7-537x358.jpg F18 http://ad009cdnb.archdaily.net/wp-content/uploads/2011/06/1309363307-hex-04-1000x578.jpg F19 http://ad009cdnb.archdaily.net/wp-content/uploads/2011/06/1309363429-hex-ren03-1000x578.jpg F20 Kalay, 2004, ‘Architectures New Media‘, p19-20.

All figures that without figure numbers are produced by Huimin Xu, Junhong Huang and Qingyi Luo. (1) (2) (3) (4) (5) (6) (7) (8) (9) (10) (11)

Hensel M., 2011, ‘Performance-oriented architecture and the Spatial Material Organisation Complex’ pp3-23. http://www.achimmenges.net/, viewed on 2013/4/20 Western Gateway Design Project Brief 2011, viewed on 2013/4/16 http://www.archivenue.com/voussoir-cloud-by-iwamotoscott-with-buro-happold/, viewed on 2013/4/27 http://www.independentsgroup.net/rmit-fab-pod, viewed on 2013/4/30 http://www.archdaily.com/146764/hexigloo-pavilion-tudor-cosmatu-irina-bogdan-andrei-radacanu/, viewed on 2013/5/1 Kalay, 2004, ‘Architectures New Media‘, p19-20.

Kalay, 2004, ‘Architectures New Media‘, p19-20.

Victorian Municipal Directory. Brunswick: Arnall & Jackson. 1992. p282, 524–525.

Farshid M., 2006, ‘The Function of Ornament’, p616-618.

Farshid M., 2006, ‘The Function of Ornament’, p616-618.

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F1

Vision Wall, Elena Manferdini, Alexis Rochas

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PART C. PROJECT PROPOSAL WESTERN GATEWAY DESIGN PROJECT - The solution to narrow the form-making possibilities is to broadly set the performance optimization, which is also determined by the material selection.

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P A R T C. P R O J E C T P R O P O S A L C.1. GATEWAY PROJECT: DESIGN CONCEPT

Design approach

As a starting point, our group has determined that the Gateway design project should reflect our own discourse topic as a design approach, which could guide us to make decisions more specifically. The topics are: 1) using nature as a source of inspiration; 2) architecture design needs to consider the connection between structural rigidity and form finding process; 3) architecture is about making space that creates experience.

Huimin Xu

Junhong Huang

Qingyi Luo

nature - source

form - structure

space - experience

To combine the three different concerns, we narrowed them to three words which were ORGANIC, STRUCTURAL and EFFECT. In other words, for the Gateway project, our group was trying to strengthen the architectural argument according to presenting organic form with structural rigidity and providing particular effect. After we decided our design direction we came to review the design brief.

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Voussoir Cloud, California, IwamotoScott

F2

The Voussoir Cloud has provided us a convincing and practical example of how do structural performance testing and the choosing of materials cooperate to generate reasonable form. The integral part of structural performance testing guided us to reach the final design approach for the Gateway design project which is

The approach to evaluate structural performance of different materials and applied the material properties on the form finding process. In addition, the discussions of materialization may influence back to the effects that the design can achieve.

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P A R T C. P R O J E C T P R O P O S A L C.1. GATEWAY PROJECT: DESIGN CONCEPT

Contrast 'The installation will enhance the physical environment through the introduction of a visual arts component. It will have longevity in its appeal, encouraging ongoing interest in the Western Interchange by encouraging further reflection about the installation beyond a first glance.'

- Western Gateway Design Project Brief, Through the design brief and online research from the Wyndham City Council website we captured the following properties that the document required us to follow: - eye catching, exciting - inspires and enriches the municipality - innovative and prominent indicator to provide a focus - central thread connecting people and place - should provide an entry statement and arrival experience In addition, we recorded some critical descriptions of Wyndham City according to the city council official website: - fastest growing municipality in Victoria - coastal city culture - a number of nature features appeared in the city boundary, which dedicates an intensive relationship between the natural environments and the activities of human settlement and associated industries - in recent years the population in Wyndham has been growing at a rate of 8,000 to 10,000 residents each year

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Four words are selected to best describe the central values or properties of Wyndham City in our point of view and we should also response to these values and represent them in the design concept.

NATURE

DEVELOPMENT

F3

CHANGE

TRANSITION

F4

F5

Then we came up with the concept of CONTRAST, the reason why we choose this concept is that we hope to use contrast in form and materials to construct visual impression to people who are not familiar with Wyndham City. More important is that the idea of contrast is potentially as a manifesto of Wyndham and we want the design to communicate the message (nature, development, change, transition) with drivers passing by. The western gateway serves as a transition area of Geelong and Melbourne City and it should the intersection spot of different cultural values. In order to express this we will mainly contrast nature and industry through materials.

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The site The circled area is the spot where our design should be placed, the reasons for this are firstly more people can engage with the architectural structure and experience the space and contrast to be given the impression; secondly, the structure is placed in the welcoming place over the intersection of the freeways as an indicator of a 'gate' The structural solution for the design that will span over 30 meters (include two freeways going opposite directions) will be double-arch.

Wyndham and Melbourne City

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Geelong

F6

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P A R T C. P R O J E C T P R O P O S A L C.1. GATEWAY PROJECT: DESIGN CONCEPT

Previous outcome and feedback The part B outcome mostly focuses on making transition patterns of different sizes and presents the contrast through tessellation patterns and the material of timber and steel as they represent nature and industry aspects. However, the visual impression is not strong enough and both timber and steel can be referred to natural materials. The structure is not tested neither and the whole design does not make sense in some level.

Images on the right show the part B outcomes and there are a number of details we need to adjust, the general feedbacks are; - the contrast is not intense enough, more drama needed - tessellation patterns are restricted to hexagon only, even if they are transiting between different sizes the shape is a little bit dull - need more contrasts regarding material selection - lack of structural performance testing, the previous form is not convincing enough - can applied color differences - try to relate the concept more to the site brief and discourse topics

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P A R T C. P R O J E C T P R O P O S A L C.1. GATEWAY PROJECT: DESIGN CONCEPT

Form fing process Diagrams are provided on the right to better explain the rough ideas of how do we get our basic form for the design project.

1 The existing landscape is quite flat and smooth 2 Two arrows push the ground line up to create the double arch structure 3 The curvy lines contrast the flat landscape 4 Reviewing our design concern we hope to make organic form, which should be more irregular. The double arch is symmetrical as a result we cut the half of the arch out and free the end of the shape up then we get the shape in diagram 5 5 One complete arch is left and it is placed over the Princess Freeway to the Wyndham City, the space will be more enclosed under this arch and more experience and effect will be displayed. The right end (half arch) becomes more open and we attempt to create shadow effect dominantly.

6 Wyndham is trying to promote the concept of coastal city, so we apply a more fluent curve over the arch curvy, which expressing a sense of flow 7 The dark blue color demonstrates the base of the arch should provide main support to the structure and can not be removed 8 In order to make the design more organic and create a sense of flow our group needs to introduce a different type of material which also has distinct structural property so we remove the top part of the arch and replace another material instead 9 Final form of the design

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P A R T C. P R O J E C T P R O P O S A L C.1. GATEWAY PROJECT: DESIGN CONCEPT

Structural performance test Our design approach requires us to provide evidence to support our choice of structure especially in this case the organic form is different from regular arches. The Kangaroo plug-in for Grasshopper enables us to simulate how the structure will act under different conditions.

The first step is to set a mesh surface, the size is 15 meters wide and 30 meters long according to the site dimensions and set points at every meter. By using the ‘spring’ and ‘kangaroo’ command we can decide the fix points which will not move and by setting the force and stiffness through the ‘spring’ definition. The stiffness will be applied on those points that are not chosen as fixed points and they will react to the force that I set to pull them up to form arch.

F i g u r e 2 a n d f i g u r e 4 s h o w t h e d i ff e r e n t o u t c o m e b y c h o o s i n g r a n d o m f i x e d p o i n t s o r s e t l o w s t i ff n e s s f o r t h e u n f i x e d p o i n t s and the figure 6 is the most satisfied one with the applied stiffness and force according to the material selection – timber.

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P A R T C. P R O J E C T P R O P O S A L C.1. GATEWAY PROJECT: DESIGN CONCEPT

Node diagram mesh

material stiffness

select some of points of the list constituting the mesh as the anchor points

spring force

attractor points change the density of the grid

surface

Duplicate the curve from the stable surface defined by Kangaroo

hexagonal grid

trim

surface morph

base curve

surface

following curve

volumetic structure with various extrude thickness

split surface replace upper strips of the structure of the woven structure surface morph

generate a grid of {uv} points on a surface

cull and organize rows of points to create a set of interpolated curve

woven strip structure

reference the each edge vertexes of the hexigon module to the starting point of the woven structure

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Precedents

Vision Wall - Elena Manferdini, Alexis Rochas

F7

Light and shadow effects that create by the Vision Wall are incredible by using the transparent plastic material. The shadow reflects a sense of illusion and flow, which is something that our design concept follows. ‘The surrounding images that are reflected by the radiant facets interfere with each other to create fantastic distortions of the light colors into an array of different shades.’(1)

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Pulse: Tendril Formations - Florencia Pita, 2006

F8

This visual shocking project explores the application of both color and material creates a unique spatial effect. 300 CNC laser cut thin plastic sheets are covered by the soft and pink cloth. However, the soft material can also provide structural rigidity. ‘The project investigates notions of color and form as performative elements that embed space with mood and atmosphere.’(2)

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P A R T C. P R O J E C T P R O P O S A L C.1. GATEWAY PROJECT: DESIGN CONCEPT

Materials Above precedents inspire us to choose the transparent plastic for the design project, which contrasts the timber material. The comparison between plastic and timber responses to the contrast between nature and industry, the two components plastic and timber construct d i s t i n c t p a t t e r n s a n d c r e a t e d i ff e r e n t l i g h t a n d s h a d o w e ff e c t s .

F9

F10

VS

Material Thickness Color Tessellated pattern Structural performan Metaphor

Transparent plastic

Timber

Thin and soft

Thicker timber frame

Transparent

Dark and light brown

Weaving strip cruvy

Transition hexagons hard edge

Good in compression in the direction parallel to weaving weak in the perpendicular direction Artificial and industrial material sense of flow

Compressive resistance

Natural material

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Better strength to hold the arch form

Poor in compression

The hexagonal patterns become denser due to structural consideration since these two critical spots need to provide the main support to the entire structure and we design the arch to self-support.

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P A R T C. P R O J E C T P R O P O S A L C.2. GATEWAY PROJECT: TECTONIC ELEMENTS

Joint details and prototypes Three connection methods should be taken account into our design, the timber tessellation frame, the connection between different timber frames and the joints between the timber frames and plastic weaving strips.

T h e I C D / I T K E R e s e a r c h P a v i l i o n 2 0 11 i s u s i n g t h e f i n g e r j o i n t for the tessellation panels. Each panel is assembled by timber sheets and fixed with the tooth like finger joint. We adapt the finger joint and use for the timber frames. The prototype is at 1:5 scale and the laser cut timber sheets we use are about 3mm thick.

ICD/ITKE Research Pavilion 2011: finger joint detail

F11

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This innovative joint method requires less external joint connections such as metal cleats and nails which reduces the material consumption. Every timber hexagonal panel can be prefabricated off-site and be installed on-site.

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P A R T C. P R O J E C T P R O P O S A L C.2. GATEWAY PROJECT: TECTONIC ELEMENTS

Joint details and prototypes

The connection between the hexagonal frames is using the metal cleats and nails joints.

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Photos on the left column display the eyelet metal joint between the transparent plastic and the timber frame. Additionally, the transparent plastic strips can be connected in the same way.

The right column shows the paper prototype of the plastic weaving to test the patterns and shadow effects.

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P A R T C. P R O J E C T P R O P O S A L C.3. GATEWAY PROJECT: FINAL MODEL

Fabrication process

The above images show the unrolling process of the single hexagonal timber frame and the image in the middle shows the finger joint drawing of the timber sheets B r i e f l y, t h e f a b r i c a t i o n o f t h e f i n a l m o d e l i s q u i t e simple since we just need to produc each hexagonal p a t t e r n a n d c o m b i n e t h e m i n o r d e r, t h e w e a v i n g strip fabrication is similar as well. The print images on the right show the fabrication unrolling file.

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12a 11a 10a 9a 8a 7a 6a 5a 4a 3a 2a 1a

1b

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P A R T C. P R O J E C T P R O P O S A L C.3. GATEWAY PROJECT: FINAL MODEL

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Fabrication process

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The detail photos on the right clearly show the difference of how the two materials perform. Even if we did not use real timber to fabricate the hexagonal frames, the cardboard somehow produced similar performance to timber. The hexagonal patterns are bold, with hard edges while the transparent plastic remains softer.

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Following photographs demonstrate the obvious differences of shadows effects between the two material. The outcome is satisfied since the transparent plastic create the reflective shadows with a sense of flow, which contrasts the bold edges of the paper framing.

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Light and shadow effect

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P A R T C. P R O J E C T P R O P O S A L C.4. ALGORITHMIC SKETCHES

Attractor vector points forming transition hexagonal patterns

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Offsetting the polylines to get thickness for the patterns

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P A R T C. P R O J E C T P R O P O S A L C.4. ALGORITHMIC SKETCHES

The surface morpg command applies the transition patterns on the surface we generated by Kangaroo, and then we trim the patterns according to the shape of the weaving patterns.

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We set the end of each hexagonal pattern which touches the weaving patterns as reference points and construct the weaving strip and morph the patterns on the same surface then trim them.

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Perspective renders

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P A R T C. P R O J E C T P R O P O S A L C.5. LEARNING OBJECTIVES AND OUTCOMES

The refinement of the part B design helps us explore more about the materialization and structure, furthermore, we always keep in our minds that we should relate the design concept to the brief and also our individual discourse topic. The overall feedback is satisfied however our research regards to the structural performance is not much enough especially the workability of the design in a practical context. Even if the final model can stand stably on the ground it is made of card board and is different from timber. As a piece of experience we should try to fabricate the full scale using the same or similar material as much as possible. In particular, the actual timber sheets has thickness and paper does not so there must be errors fabricating the model, which would definitely affect the structural performance in some extent.

Most critics are about the detail connections of the different components of the model especially the hexagonal timber frames and between the plastic and timber frames. What we will response to that is to provide the structural frame underneath the hexagonal patterns.

BRIEF

RESPONSE

DESIGN

OUTCOMES

SOLUTION

IDEAS

MORE OUTCOMES

BRIEF

FITNESS CRITERIA

SOLUTION

PARAMETRIC DESIGN

Relating back to the subject, in my point of view, the STUDIO AIR has provided us a comprehensive background knowledge of how can deal with the digital age in the 21st century. The algorithm thinking systemically guides us to ‘calculate’ the model with digital tools. The parametric design supports us to explore a range of possibilities by changing the parameters and definitions of the digital model. Computation should be used as a tool to expand our creation and design brief serves as the principle to narrow down the different outcomes and find out the fittest solution, which in my opinion reverses the traditional design process with ‘brief the first, design the second’.

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P A R T B. D E S I G N A P P R O A C H PART C REFERENCES

F1 Jacobo Krauel , Contemporary digital architecture : design & techniques, 2010, p123 F2 http://www.pleatfarm.com/wp-content/uploads/2009/10/IwamotoScott-Voussoir-Cloud-2.jpg F3-5 http://www.wyndham.vic.gov.au/ F6 Subject resourses of Air studio F7 Jacobo Krauel , Contemporary digital architecture : design & techniques, 2010, p125 F8 Jacobo Krauel , Contemporary digital architecture : design & techniques, 2010, p76 F9 http://www.tapplastics.com/uploads/products/Clear_Vinyl_Strips-xl.jpg F10 http://747squarefeet.files.wordpress.com/2012/02/lookin-for-wood.jpg F11 http://www.achimmenges.net/wp-content/gallery/icd-itke-researchpavilion-2011/18_closeuparch.jpg All figures that without figure numbers are produced by Huimin Xu, Junhong Huang and Qingyi Luo. (1) (2)

Jacobo Krauel , Contemporary digital architecture : design & techniques, 2010, p123 Jacobo Krauel , Contemporary digital architecture : design & techniques, 2010, p74

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