STUDIO AIR JOURNAL KAREN DIONISIO-SEE 613168 ABPL30048 SEMESTER 1 2015
TABLE OF CONTENTS Conceptualisation ----------------------
1
Criteria Design ----------------------------- 20 Detailed Design --------------------------- 56 Bibliography ------------------------------- 121
PART A
CONCEPTUALISATION TABLE OF CONTENTS Conceptualisation -------------------------
1
•
Design Futuring ----------------------- 2
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Design Computation --------------- 6
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Composition/ Generation -------- 12
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Conclusion ----------------------------- 16
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Learning Outcomes ----------------- 17
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Algorithmic Sketches ---------------- 18
01 INTRODUCTION Karen Dionisio-See 613168 INTRODUCTION My name is Karen Dionisio-See, a third year student in Bachelor of Environments, majoring in Architecture. Before I came to study in Melbourne, I had no knowledge and understanding towards the existence and the ability of the digital world in architecture. In the Philippines, where I have lived for 21 years now, the building industry has not been practicing these technologies of fabricating and digitally modeling complex compositions not until the 21st century. When I was able to work during my summer breaks, the architects would only use AutoCad, SketchUp and Photoshop. Only some of the new graduates (especially those who studied abroad, are aware of other 3D modeling softwares such as Revit, Rhino and Maya. At the present, many long running known companies have continued to design structures in the traditional and conventional way, and only a few starting firms have explored the digital world. It is the lack of time, learning and knowledge that hinders some of the architects to introduce themselves with these new technologies, when these could actually develop and enhance their designs and even their business in the long run. In the first year of my university, I was able to get my first experience on a digital software, Rhino 3D. Honestly, as for many, it is not the easiest software to learn, but as you get the hang of it, you are able to produce out of the ordinary designs. For our class, I had to create a lantern, in which I am able to wear, using Rhino and the CNC machine. After being able to make this piece (even if it is a bit odd), I have become more open to learning digital-related designs and technologies.
VIRTUAL ENVIRONMENTS LANTERN PROJECT
The digital world, in my opinion, explores opportunities that would help us in producing designs that were once just part of our imaginations. These designs generates patterns taken from the compositions of nature, organisms and even wor kings of the past. With the new era of digital architecture, we are able to create different and unique experiences that were not applied in the past. The availability of digital tools and softwares makes the whole production processes in designing and constructing buildings faster, more accurate and complex. Moreover, the new technologies allow us to think of what else could be done to produce sustainable, efficient and beneficial to the society and the environment.
FUTURING 02 DESIGN Karen Dionisio-See 613168
FUTURING 03 DESIGN Karen Dionisio-See 613168
DESIGN FUTURING
POLISH PAVILION // WWAA
POLISH PAVILION AT DAY1
In the 2010 World Exposition in Shanghai, China, WWAA Architects designed a Pavilion for the Polish Information and Foreign Investment Agency, and the Polish Agency for Enterprise Development.2 In this building WWAA used the tradition of folk-art paper cutting as the basis for the exterior panelling design, symbolizing the purpose of the building and the background of the clients. Through the use of CNC cutters, the art that was once produced only by Polish children on papers, has been fabricated and translated into a larger scale structure. With these external cladding, people from all over the world, not only see the beauty of the Polish culture, but they also get a glimpse or an experience of it. These plywood panels, mounted on steel construction. have been throughly thought of to allow sustainable and creative aesthetic outcomes, enabling natural light to enter the building during the day, and mutli-coloured lights to be flashed from the structure itself to its surroundings. Additionally, whether it is the natural or the coloured light, shadows from the patterned panels appear inside the pavilion. When thinking of the materials and structural processes of the building, WWAA thought of how it would be reconstructured once the exposition is over. This then demonstrates how the new technologies of the digital industry can help in designing efficient, communicative and more innovative architecture.
POLISH PAVILION AT NIGHT
1. WWAA, Polish Pavilion, 2010, photograph, http://wwaa.pl/projects/polish-pavilion-expo-2010/ 2. Polish Pavilion Expo 2010, WWAA, last modified 2010, http://wwaa.pl/projects/polish-pavilion-expo-2010/. 3. Catherine Warmann, Polish Pavilion, 2010, photograph, http://www.dezeen.com/
INTERIOR OF POLISH PAVILION2
FUTURING 04 DESIGN Karen Dionisio-See 613168
FUTURING 05 DESIGN Karen Dionisio-See 613168
HEYDAR ALIYEV CENTRE // ZAHA HADID ARCHITECTS
HEYDAR ALIYEV CENTRE4
One good example of an architect who have further pushed the boundaries and utilisation of digital architecture and technologies is Zaha Hadid. Her style and buildings is well-known across the architecture industry due to her experimentative, imaginative and distinct way of designing with computer-generated tools and softwares. In Baku, Azerbaijan, 2012, Zaha Hadid produced the Heydar Aliyev Centre, incorporating a free-flowing and fluid yet sophisticated building. The structure would seem to be continuously moving like ocean waves, giving it a sense of an organic and light form. Functioning as the main cultural centre of the country, Hadid created this concept of moving away from the rigidity and massiveness of the Soviet Union’s architecture who onced took over their nation.5 With this, the strong presence of the culture of the Soviet Union has suddenly started to fade, putting the Heydar Aliyev Centre at the primary point of attraction where a new culture in Azerbaijan emerges. Hadid was able to generate the complexity and fluidity of the design through the availability of accurate computations and technological advances in architecture. The Heydar Aliyev Centre, exemplifies how the digital industry can help in producing new styles and futuristic structures, which steps away from the formality and regularity of the past.
HEYDAR ALIYEV CENTRE ON SITE6
4. Iwan Baan, Heydar Aliyev Centre, 2012, photograph, http://www.zaha-hadid. com/architecture/heydar-aliyev-centre/ 5. Architecture: Heydar Aliyev Centre, Zaha Hadid Architects, last modified 2012, http://www.zaha-hadid.com/architecture/heydar-aliyev-centre/. 6. Iwan Baan, Heydar Aliyev Centre, 2012, photograph, http://www.zaha-hadid. com/architecture/heydar-aliyev-centre/
COMPUTATION 06 DESIGN Karen Dionisio-See 613168
COMPUTATION 07 DESIGN Karen Dionisio-See 613168
DESIGN COMPUTATION From the early years of the ancient Greeks and Romans to the architects of today, a sequential method or process is still being practiced in designing architecture. However, as people developed their way of thinking and technological advances occurred, these design processes have continued to evolve, considering various tools and elements to gain the best design for a project. This allowed architects to look at buildings, not only in its design features, but also its construction and sustainability characteristics. In the past, only the craftsmen were able to understand and build structures, using only their personal experience and knowledge from their training.7 This, however, resulted to a long construction process and a limited design output. As computer technology developed in the recent years, construction and design processes have become easier, faster, more innovative, pushing boundaries and possibilities in the industry. Architects and designers have started to consider structural components in the way they design, ensuring strength and efficiency in the whole structure, using minimum materials and precise forms, aided by the computer softwares and machines that made this achievable. Recently, my friend, who studies BioMed as her bachelor degree, showed me these two muscle cell patterns found in our body. For her, the patterns portrayed biological distinctions between the two cells, but for me, they were patterns that could one day be imported to the computer and then later be used as the main concept for a design in architecture, whether it could be for a house or a city. This made me realise how technology in the architecture industry can create imaginative and unique achievable designs. Adding parametrics and algorithms in the method of designing, more outputs are made with a similar concept, which means there are more options for choosing the best design for a certain project. It is with computations that designing in architecture and even in other objects became more creative, distinct, organic and more futuristic than the flat, simple and rectalinear structures that were modern in the 20th century like the Schroder House by Gerrit Rietveld.
SCHRODER HOUSE8
7. Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of ComputerAided Design (Cambridge, MA: MIT Press, 2004), 7. 8. Alice Friedman, Women and the Making of Modern House: Schroder House, last accessed 18 March 2015, http://www.tinadhillon.com/ the-schroder-house-utrecht-the-netherlands/
COMPUTATION 08 DESIGN Karen Dionisio-See 613168
COMPUTATION 09 DESIGN Karen Dionisio-See 613168
BEAST // NERI OXMAN
In design computations, designers can take into consideration the aesthetics and structural side of the object. They can think of a more sustainable and efficient ways of designing structures that could perform both its functional and workability properties. With the popularity and good feedback of designing with architecture, other artists and desginers have included this technique in creating their own objects, such as The Beast by Neri Oxman. The Beast is a prototype made for a Chaise Lounge, using acrylic materials as its main material and digital-generated softwares to produce an organic form.10 Although it may seem light, fluid and fragile, its curvature and choice of materials made the object rigid and durable. This means that its form, with the use of computers and parametric softwares, and the thickness of the stones, enable the structure to support itself without the leg components found in a traditional chair. Therefore, with computation in the designing process of architecture or even furnitures like this one, we can see how it contributes in merging designing and constructing aspects of creating structures. Moreover, with the use of a single continuous surface and fabrication technologies, the structure can be made faster and more accurately to the designer and the client’s standards. In terms of aesthetics, the translucent stones allow the chair to have texture, dynamism and colour once light shines on it.
9. Neri Oxman, Beast, last modified 2011, http://web.media.mit.edu/~neri/site/projects/beast/beast.html. 10.”Beast”, Neri Oxman, last modified 2011, http://web.media.mit.edu/~neri/site/projects/beast/beast.html.
BEAST9
COMPUTATION 10 DESIGN Karen Dionisio-See 613168
COMPUTATION 11 DESIGN Karen Dionisio-See 613168
KARTAL MASTERPLAN // ZAHA HADID ARCHITECTS
KARTAL MASTERPLAN11
The era of computer-related architecture paved way for the fast-paced production of designing and constructing from small-scale objects such as furniture, to large-scale areas like districts and urban spaces. These allowed architects to design more possible solutions and responses for their problems and to test their capabilities.12 The Kartal Masterplan, for instance, by Zaha Hadid Architects have used parametric softwares to produce this mixed-use development area, creating blocks and buildings with various heights, forms and angles.13 Although it may be similar to the grid layout of traditional cities in the past, its overall design formation and concept has made the urban space unique from others. Each of its blocks have a single high point, emphasized by the forms of the four buildings,14 creating a sand dune effect on the whole site. Designing with computation allowed the architects to easily divide these blocks and experiment on the different forms and angles of these buildings. It helped them to generate various design options that could resolve the brief in making a mixed-use space that integrates efficiency and interaction between the structures and the users. This would also reduce the resources and expenses in the whole project since architects are able to virtually imagine and test the product of the project, thus predicting the energy and budget that is to be used.
11. Zaha Hadid Architects, Masterplan: Kartal Masterplan, last modified 2006, http://www.zaha-hadid.com/ masterplans/kartal-pendik-masterplan/. 12. “Masterplan: Kartal Masterplan”, Zaha Hadid Architects, last modified 2006, http://www.zaha-hadid.com/ masterplans/kartal-pendik-masterplan/. 13. Brady Peters, “Computation Works: The Building of Algorithmic Thought”, Architectural Design, 83,2 (2013): 13. 14. Patrik Schumacher,”Parametricism - A New Global Style for Architecture and Urban Design”, Architectural Design - Digital Cities, 79 (2009).
GENERATION 12 COMPOSITION/ Karen Dionisio-See 613168
WATERCUBE // PTW ARCHITECTS
GENERATION 13 COMPOSITION/ Karen Dionisio-See 613168
COMPOSITION/ GENERATION
WATERCUBE-NATIONAL SWIMMING CENTRE15
The architectural industry in literature and in practice have begun to utilise and take advantage of the capabilities and power that computer technologies and computations bring. In analyzing the brief of a project, architects used to think about the basic form of the structure and the general impact of the building in the environment, whether this would be suitable for the clients or not. However, as the industry advances, architects have used more digital tools and softwares, not just for drafting and better and faster communication tools, but also for incorporating computations into their designing processes to be able to evaluate possible solutions accurately.16 This act of generation allows designers to absorb and interpret various information on the project such as environmental, social, economical and structural issues, which results to the exploration of several iterations and solutions for their brief through algorithmic thinking and paramatric modelling.17 This then produces a structure that not only becomes the basis of the concept and design, but also one that achieves different goals in the brief and integrates the needs of clients to engineers. The Watercube in the 2008 Beijing Olympic Games, for instance, has solved the social, economical and environmental problems of the design, using computer softwares and fabrication.18 PTW Architects has produced a commercial centre that would have a low energy and water consumption, new construction materials and an association with Chinese culture.19 With computer technology, architects were able to conduct tests and experiments, most especially on the material, to ensure durability, good thermal and acoustic performance20, making this one of the most sustainable and efficient buildings in China.
15. PTW, Watercube-National Swimming Centre, last modified 2015, http://www. ptw.com.au/ptw_project/watercube-national-swimming-centre/. 16. Peters, “Computation Works”, 13. 17. Peters, “Computation Works”, 10. 18. ”Watercube-National Swimming Centre”, PTW, last modified 2015, http://www. ptw.com.au/ptw_project/watercube-national-swimming-centre/. 19. “Watercube-National Aquatics Centre, China”, Designbuild-network.com, last accessed 19 March 2015, http://www.designbuild-network.com/projects/watercube/. 20. “Watercube-National Aquatics Centre, China”, Designbuild-network.com, last accessed 19 March 2015, http://www.designbuild-network.com/projects/watercube/.
GENERATION 14 COMPOSITION/ Karen Dionisio-See 613168
GENERATION 15 COMPOSITION/ Karen Dionisio-See 613168
URBAN LOBBY // MRGD ARCHITECTS
URBAN LOBBY21
Although computer technology may seem inifinite and purely advantageous, some theorists and architects argue that using computations and algorithms can have limitations and may instigate imitations of style from other designers. The definition of algorithms itself implies that they are set of rules input in the computer, which results in specific actions in which some architects are not able to think of.22 This shows how computers can have a mind of their own, limiting the way designers can creatively solve problems on their own. It is with our own thoughts, imagination and mind that we are able to fully utilise and comprehend the purpose and functions of these algorithms and computer technologies, in order to integrate the true power and capacity of the digital world.23 Nevertheless, with computations, the production and process of designing, as explained previously, would still be faster, more efficient and more experimental, while being able to analyze several options and aspects of a project. Another examples of the use of generation in the design process of architecture is the unbuilt research project of the Urban Lobby in London by the MRGD Architects. The main purpose of the project is to explore with computational tools in creating a space that allows interaction, flexibility, adaptability and exploration in the environment it is in.24 The architects have experimented, using algorithms and digital softwares to test and generate different diagrams and solutions based on their understanding of the city. After choosing the diagram that follows their concept and goals for the project, they then used this as the basis for their design in creating pathways and structures in the building. This then demonstrates how generation was used in this design process to produce various solutions to the problems, and how it impacts the final composition of a structure.
21. MRGD, Urban Lobby, last modified 2012, http://www.archello.com/en/company/mrgd. 22. R. Wilson and F. Keil, “Definition of ‘Algorithm’“, in The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press, 1999), 11. 23. Rose Etherington, “Urban Lobby by MRGD Architects“, Dezeen Magazine (November 2007), http://www.dezeen. com/2007/11/01/urban-lobby-by-mrgdarchitects/.
16 CONCLUSION Karen Dionisio-See 613168
OUTCOMES 17 LEARNING Karen Dionisio-See 613168
CONCLUSION/ LEARNING OUTCOMES In this chapter, the theory of digital architecture and computation were discussed through a series of In the past, I only used digital tools in my projects for drafting and presentating them in a clean precedents that illustrates the power and the use of computer technologies in producing these and professional manner, without fully understanding how it could help me analyse and explore structures. With these advances come the practice of algorithmic thinking and parametric modelling, which different design opportunities for the brief. In doing Virtual Environments in my first year, I only used Rhino results to in depth analysis of how architects can respond and design projects that integrate sustainability, as the design software to generate my design, not because I know it would create various forms, but efficiency, economic and social issues within the brief. Architects and other designers are able to understand because I had to. After the lectures, readings and algorithmic exercises that I have done these past and take advantage of this new practice and technology, allowing them to not just work with the aesthetic few weeks, I now understand their purpose and capabilities, allowing me to explore ideas and forms side of architecture, but also its structural side. This then brings the architecture and construction industries that I would not have thought of without computations and softwares such as Rhino and Grasshopper. to emerge and share their knowledge with each other, producing contemporary and futuristic structures. Through out this chapter, I was also able to distinguish and realise the different terms that are By comprehending the potential of digital softwares and computations, I intend to include this practice linked to digital theory, such as computerisation and computation. Computerisation is the act of in my design processes in the future of my career. By starting to learn and use computer tools, I am able drafting, presenting and editing drawings and models24, where the design completely depends on the to look through various aspects, strengths, opportunities and weakness that can be linked to a certain architect’s knowledge. Computation, on the other hand, is the utilisation of computers to gain brief. This then allows me to produce various design iterations where I can choose and analyse the information about a certain model in terms of its environmental, economical, social and structural design that would strongly fit my concept and the problems of the brief. This also leads to faster and more impacts, through a series of algorithms.25 By using both practices of computerisation and computation precise production of a structure. When I start working back in my home country, I may be able to share in design processes, architects are able to generate buildings precisely, economically and adequately. my knowledge of computer technologies, which can help in generating new structures that are less costly, fast produced and sustainable, benefitting the building industry, the environment and the society.
24. Peters, “Computation Works”, 10. 25. Peters, “Computation Works”, 10.
SKETCHES 18 ALGORITHMIC Karen Dionisio-See 613168
SKETCHES 19 ALGORITHMIC Karen Dionisio-See 613168
ALGORITHMIC SKETCHES
The following images are a few of the algorthmic exercises that I have done using Rhino and Grasshopper. With Grasshopper, I was able to create various iterations in a model by using just one algorithm such as the loft, box morph, and triangulation tools. When doing these exercise, I am able to experience the theory of computation in how it helps you generate different options for a design and how they can be produced faster and more freely than other deisgning tools. These models encpasulates the capabilities of algorithms, allowing architects to transform rectalinear objects to organic ones and vice versa, and to create undulating surfaces similar to those found in nature.
PART B
CRITERIA DESIGN TABLE OF CONTENTS Criteria Design ------------------------------
20
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Research Field ------------------------ 21
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Case Study 1.0 ----------------------- 22
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Case Study 2.0 ------------------------ 28
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Iterations for Case Study 2.0 ----- 34
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Prototype ------------------------------- 38
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Design Proposal ---------------------- 42
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Learning Objectives ---------------- 50
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Algorithmic Sketches ---------------- 52
FIELD 20 RESEARCH Karen Dionisio-See 613168
FIELD 21 RESEARCH Karen Dionisio-See 613168
RESEARCH FIELD - BIOMIMICRY
Since the ancient times, architects, engineers and artists have taken most of their inspiration and knowledge from nature in terms of its aesthetics and complex systems embedded in them. The term biomimicry refers to the implementation of designs and system from nature to solve problems in the fields of engineering, science, medicine, arts and others.26 In architecture, biomimicry is applied in digital designs to imitate or reflect the biological framework and/or rules found in an organism.27 Architects are also able to incorporate their experiences in nature to express biomimicry in their designs. Today, the building industry have increasingly become interested in nature’s processes and patterns such as the Fibonacci sequence in seashells and some plants, and the hexagon geometry of beehives. One of the well-known architecture that portrays biomimicry, made during the 2008 Olympics in Bejing, is the Bird’s Nest. Its conceptual basis from nature is not only reflected in its name, but also in its physical design (refer to page 13 for image). The use of biomimicry in architecture, moreover, allows designers to explore parametric designs with shapes, patt erns, scales, repetition, abstraction, subtraction and many more methods using computational and digital softwares such as Rhino and Grasshopper. In this way, architects generate experiential and unique structures, that change people’s perception and how they interact with architecture. Other structures that reflect biomimicry in their designs using computations and digital tools are the ZA11 Pavilion using this method to accommodate with their limited resources by applying materials and fabrication techniques that can be scaled easily28; and the Canopy by United Visual Artists demonstrating people’s experience of the dappled light in the forest through the leaf-shaped geometry and transparencies of the panels.29
ZA11 PAVILION
The next few pages involves case studies of The Morning Line and ICD/ITKE Research Pavilion that explores on different parametric tools and techniques in which becomes a helping method for developing my proposal and design for the final project.
CANOPY
COUNTRY ROAD, DAPPLED LIGHT30
26. Tom Mueller, “Biomimetics Design by Nature,” National Geographic (April 2008), http://ngm.nationalgeographic.com/2008/04/biomimetics/tommueller-text/1. 27. “What is Biomimicry?”, Biomimetic Architecture, last accessed March 25 2015, http://www.biomimetic-architecture.com/what-is-biomimicry/. 28. “CLJO2: ZA11 Pavilion”, Design Playgrounds, last accesed March 25 2015, http://designplaygrounds. com/deviants/clj02-za11-pavilion/. 29. “Canopy by United Visual Artists”, Design Playgrounds, last accessed March 25 2015, http:// designplaygrounds.com/deviants/canopy-by-byunited-visual-artists/. 30. Skylar Brown, Country Road, Dappled Light, 2009, fine art digital painting, in Art Rage Community [online database], http://forums.artrage.com/ showthread.php?36518-Country-Road-DappledLight, accessed 25 March, 2015.
STUDY 1.0 22 CASE Karen Dionisio-See 613168
STUDY 1.0 23 CASE Karen Dionisio-See 613168
THE MORNING LINE // ARANDA LASCH
THE MORNING LINE IN ISTANBUL
The Morning Line, located in Eminonu Square, Istanbul is a modular pavilion that takes the form of an open structure rather than the usual enclosed ones. The use of nurbs and Bezier curves throughout the structure produces the openness of the pavilion, allowing more natural light to pass through in which shadows can be subsequently played and performed. Its random, interconnected lines creates a fractal pattern, imitating the model or image of the universe, which gives an overall design of having no final form, no specific access gateway, no beginning and no end. The black and aluminium material of the pavilion is similar to the power lines and industrial infrastructures of the Brunswick Terminal Station in Merri Creek. However, the pavilion can still exhibit a design that portrays the systems and features of nature such as the trees and flowing creek in the site, due to its fractal patterns.
STUDY 1.0 24 CASE Karen Dionisio-See 613168
STUDY 1.0 25 CASE Karen Dionisio-See 613168
ITERATIONS FOR CASE STUDY 1.0
1 Varying scale of tetrahedrons 2 Changing the number of segments (polygon
faces)
3 Lines to polysurfaces 4 Interpolating lines 5 Expansion and array of the fractal patterns
STUDY 1.0 26 CASE Karen Dionisio-See 613168
STUDY 1.0 27 CASE Karen Dionisio-See 613168
SUCCESSFUL ITERATIONS 1
SELECTION CRITERIA • • • • • •
hexagons and triangles fractal pattern overlapping of lines symmetry and balance not too overwhelming openings or gaps in between patterns
3
4
2
This iteration of changing the scales and variations of the tetrahedrons is successful because it creates a hexagon pattern within the context of the large triangle. It is interesting to see how the whole fractal pattern is based on the triangle then slowly divides into a hexagon, while still maintaining that biomimetic pattern. The intersection between the hexagons create a potential concept for the connection detail in fabricating a structure. Other iterations of this species did not have similar geometric patterns or they did not intersect with each other.
This iterations shows a different configuration of the hexagon pattern. From the basic pentagon form, the hexagons spread through out the faces of the polygon as a fractal pattern. The pattern created have gaps in between them, which could create an interesting light and shadow play when incorporated in the pavilion. As I am also interested in having openings in the pattern of the structure, this iterations would be a good concept to look at.
The third iterations focus on the geometries of the fractal patterns in 3D. Although this looks similar to the other iterations, this particular one has a symmetrical arrangment of the patterns, even if it has a combination of hexagons and triangles. Most of the living organisms have biological features that are symmetrical. This iterations, similar to the first one, has also interlocking lines that may become joints for the fabrication of a sturcture.
In the last few iterations, I have begun to play with other curves such as interpolated or nurbs curves. This has resulted to a number of spiraling and rounded curves instad of the rigid lines in the first few iterations. This iteration was successful among others because it was not too overwhelming where you could still be able to see how the fractal pattern exists and where it branches out from. This could be a good technique to include in generating the design for my pavilion because of the interesting forms and patterns these interesting cuves can produce. However, it may be a problem to fabricate such structure, unless I use the 3D printer.
STUDY 2.0 28 CASE Karen Dionisio-See 613168
STUDY 2.0 29 CASE Karen Dionisio-See 613168
RESEARCH PAVILION 2011 // ICD/ ITKE
RESEARCH PAVILION IN UNIVERSITY OF STUTTGART
The Research Pavilion 2011 has been constructed by the Institute for Computational Design and the Institute of Building Structures and Structural Design for a biological research collaboration in the University of Stuttgart. This biomimetic pavilion follows the framework and skeleton of a sand dollar sea urchin, using hexagonal voronoi patterns that emerges from the center. In this structure, 6.5mm plywood sheets have been used with finger joints on them to fasten the modular components together. These finger joint connections and the modular system have also been taken from the sand dollar’s biology. In this way, the pavilion did not need any structural support aside from the plywood sheets. Through the additional use of Kangaroo in Grasshopper, I will be able to simulate and find the form of the structure, projecting the hexagonal pattern. This will be the basis for most of tehcnique developments and prototyping that could benefit the design and parametric tools and techniques to be used in the final project.
SAND DOLLAR
FINGER JOINTS
STUDY 2.0 30 CASE Karen Dionisio-See 613168
STUDY 2.0 31 CASE Karen Dionisio-See 613168
REVERSE ENGINEERING The diagram on the left is a simplified parametric modelling process of the tools and techniques that I took and could be used by the architects to reconstruct the Research Pavilion.
PROCESS OF REVERSE ENGINEERING: 1. Create the hexagonal pattern and curves of the pavilion • using graph mapper and voronoi to make this 2. Convert the pattern into a mesh • the mesh is to prepare the structure to form finding in Kangaroo 3. Set all other parameters for KangarooPhysics • this will lift up the pattern to the curves created previously 4. Convert curves extracted form Kangaroo to a mesh • converting it to a mesh is not essential but could help in producing iterations 5. Extrude the curves as tapered surfaces • here I have used Rhino and Grasshopper to patch and scale the curves (since the curves were not planar) 6. Cap all extruded polysurfaces
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STUDY 2.0 32 CASE Karen Dionisio-See 613168
STUDY 2.0 33 CASE Karen Dionisio-See 613168
REVERSE ENGINEERING GRASSHOPPER DEFINITION OF ICD/ITKE RESEARCH PAVILION
DEVELOPMENT 34 TECHNIQUE: Karen Dionisio-See 613168
DEVELOPMENT 35 TECHNIQUE: Karen Dionisio-See 613168
ITERATIONS FOR CASE STUDY 2.0
1 Applying different mesh tools 2 Holes and their patterns 3 Lines and curves 4 Mix of holes, curves and flower
pattern
5 Cones and cylindrical
geometries
DEVELOPMENT 37 TECHNIQUE: Karen Dionisio-See 613168
DEVELOPMENT 36 TECHNIQUE: Karen Dionisio-See 613168
ITERATIONS FOR CASE STUDY 2.0
SUCCESSFUL ITERATIONS SELECTION CRITERIA • • • •
hexagons and triangles holes and openings overlapping of lines concave form
This iteration is one of the successful ones because of the interesting tapered extrusions that looks like the back of a porcupine. If applied in the final design, this can blend well into the natural wildlife environment of Merri Creek. However, it can get too overwhelming when placed adjacent to the powerlines, especially that the towers itself can look rigid and bulky in contrast to the organic form of nature.
This variation of the Research Pavilion is successful because of the how the circles and triangles, based from a hexagon pattern, was combined to create openings in a pavilion. When applied to the final project, the pattern then becomes a framing element in which areas should be focused on and which ones are meant to be covered. For instance, the holes can be in the direction of the river and the triangles would be on the other side, covering the industrial facility.
This iterations is successful among others because of how the thickness of the lines and perhaps the materials can create a second skin element in the structure. It gives more dimension to the overall form of the pavilion, creating a pattern similar to leaves or the branching of the trees. This can become the main structural system that could hold up the pavilion for Merri Creek, underneath or over the main pattern of the structure.
PROTOTYPE 39 TECHNIQUE: Karen Dionisio-See 613168
PROTOTYPE 38 TECHNIQUE: Karen Dionisio-See 613168
PROTOTYPE The basis of this prototype is taken from one of the successful iterations of the reversed engineered project of the ICD/ITKE Pavilion. In doing this, I was able to explore the materials, joining systems, lighting and overall atmosphere of a pavilion that could be placed along Merri Creek. Looking at numerous joining systems using Grasshopper, I encountered challenges and difficulties in adding notches, clips and any other joining systems in the structure because of its form and 2D structure. Because some of the surfaces of the triangles were not planar, creating these connections have become invalid and may need a more complex system to make a successful one. With this, I have decided to fabricate this prototype using simple tabs when surfaces were unrolled in Rhino. I then managed to offset the cut out circles in the prototype to avoid them from intersecting with the edges of the triangle. Furthermore, modelling this prototype using the Ivory Card 270GSM had made the whole structure flexible, which could influence in how I would approach the structural system of my final project. I have also explored on other fabricating tools such as the waffle system where surfaces are divided into a grid of curves and polysurfaces that connect with each other by notches cut out in them. This made me think of how I would structure or start modeling a form by beginning with curves as a basis for the waffle grid and then further developing my concepts and techniques taken in the two case studies from that point. 9
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PROTOTYPE 41 TECHNIQUE: Karen Dionisio-See 613168
PROTOTYPE 40 TECHNIQUE: Karen Dionisio-See 613168
SELECTION CRITERIA In selecting the criteria for my prototype, I looked at how the fabricating processes can be easily and efficiently made, how light can play with the patterns and forms and how the material can play part in forming the model. This criteria is linked to the requirements of the brief, as well as the ideas I have for designing a pavilion. It incorporates the importance of sustainability, thinking of the materials and the amount of energy consumption that could be used in fabricating a structure on site. For instance, by using the waffle grid, fabricating the model could be made with only a few long polysurfaces, which would not need bolts or additionaly welding in the structure. Through the process of fabricating this prototype, I was able to make a flexible model in which could easily change its form by simply pushing, pulling or bending the object. First, I tried slightly pushing the object downwards, which resulted in a lowering opening.
ORIGINAL FORM
CURLING/ BENDING
Second, I tested its limitation in how much force can it take when completely pushed downwards. The prototype did not completely break or flattened because of the natural curve that it alone performs. Third, I curled or bent the object in which resulted in a higher opening to the pavilion. Fourth, I tested its height limits when the bottom sides of the object is pushed inwards.
PUSHING DOWNWARDS
MAXIMUM HEIGHT
The exploration of these design performance conditions helped me in considering the concept of flexibility within the site. Perhaps the structural system that holds the pavilion could be this elastic tensile form, which imitates and draws back to the cables and power lines found at Merri Creek, but in a less overwhelming appearance. Since the site is prone to flooding caused by the creek itself, I began to analyze how the overflowing of the water to the pathways and trails can influence and be incorporated in designing a pavilion. This can be done as demonstrated in the prototypes where the water can push the pavilion slimmer and higher, while not destroying any of its structure.
These explorations from case studies to creating prototypes with parametric techniques and tools can then lead to the design proposal of the pavilion in Merri Creek.
FLATTENING
PROPOSAL 42 TECHNIQUE: Karen Dionisio-See 613168
PROPOSAL 43 TECHNIQUE: Karen Dionisio-See 613168
DESIGN PROPOSAL
To design a pavilion that celebrates the natural environment of the site by using biomimetic features, and draws people away from industrial facilities and power lines. The pavilion engages positively with the users and its surroundings where people can interact with or just pass by it.
“To design an installation/ pavilion to run adjacent to the energy station using biomimetic algorithmic approaches in contrast to the linear truss geometry of the transmission lines and station plant equipment�
PROPOSAL 45 TECHNIQUE: Karen Dionisio-See 613168
PROPOSAL 44 TECHNIQUE: Karen Dionisio-See 613168
SITE
RESIDENTIAL AREAS MERRI CREEK SITE BOUNDARY LOCATION OF THE PAVILION INDUSTRIAL AREA POSITIVES
The pavilion becomes a sculptural piece in which people can interact with or just pass by. It becomes the center of attention in the site, instead of the industrial facilities and power lines that are disrupting, overwhelming, and may also be degrading the natural environment of Merri Creek. With the use of biomimetic patterns such as hexagons, the pavilion serves as a symbol of the nature and the systems that flow around the site. The Brunswick Terminal Station and the power lines linked to it are disliked by the residents and environmental groups around Merri Creek. Its facilities, unhealthy and dangeorus environment due to its chemical and electrical amenities, can cause risks and harm to people, families, children and students who settle and walk by the area everyday.
Near Merri Creek Near cycling path Surrounded by nature Next to several reserves and parks Near residences, schools and clubs Open to and used by many residents, students, cyclists and animals.
AFFECTING
NEGATIVES
Brunswick Terminal Station
The pavilion is located in the site adjacent to the fences of the Brunswick Terminal Station, where the bridge meets the Merri Creek Trail, which creates a separation from the natural and living environment around Merri Creek. It will stretch towards the creek and go over the Merri Creek Trail where several residents, children and cyclists pass by to enjoy the wildlife scenery and fresh breeze of the site.
PROPOSAL 47 TECHNIQUE: Karen Dionisio-See 613168
PROPOSAL 46 TECHNIQUE: Karen Dionisio-See 613168
TECHNIQUE AND TOOLS
CREATE A HEXAGONAL PATTERN
FORM FINDING SURFACES - CONCAVE STRUCTURES CREATE THE CURVES TO BE FOLLOWED
POLYGONAL PATTERNS PROJECTED ACROSS THE SURFACE
SOLID DIFFERENCE TO CREATE HOLES ON SURFACES
INTERCONNECTING LINES FOR SECOND SKIN OR STRUCTURAL SYSTEM
Using KANGAROO algorithms in GRASSHOPPER was really interesting in projecting the patterns made into the surface. I was also able to control how inflated the volume inside the structure would be, which is good when thinking of number of people who would pass by the pavilion, or perhaps if some large object would be needed to pass through it, considering that the structure would go over the cycling pathway. The volume of the the pavilion could also take into consideration the problem of flooding in at Merri Creek. For instance, the height of the pavilion can increase when water starts reaching the pathways as a way of interacting with the natural causes found at the site.
SET CURVES IN GRASSHOPPER
TURN POLYLINES OF PATTERN INTO MESH
USE KANGAROO TO SIMULATE PATTERN INTO THE CURVES EXTRACT CURVES FROM THE GEOMETRY
LOFT ORIGINAL CURVES TO NEW ONES TO CREATE EXTRUDED SURFACES
CAP EXTRUDED SURFACES AND CREATE SOLID DIFFERENCES
The use of graph mappers, image samplers and path SET PARAMETERS PLAY WITH THE FOR FORM mappers are good methods to create variations of LINE EDGES OF FINDING patterns, whether they may be based from rectangular or THE SURFACES ALGORITHMS IN circular shapes. You can see some examples of how I played KANGAROO and explored with these tools in the algorithmic sketches appendix. This would be advantageous for the pavilion where I can play with these tools based on a hexagonal grid or shape. Although it may not always work, the solid difference tool is great in creating holes in solid surfaces. The intersect components of GRASSHOPPER also helps split curves to planar surfaces to solid geometries. This also creates notches and joints for the parametric model. (However, I was not able to successfully use this in my prototype). With this, I can have small openings around the pavilion to overlook the natural surroundings of the site, as well as produce connections for the fabrication of the whole design. Interconnecting lines tool is interesting because it gives the whole structure a second skin and playing with the curves also define the ribs and pattern of the pavilion. Additionally, curves can produce fractal patterns by using scaling, orienting and clustering tools repetitively. It generates the interplay between light and shadows where the users can engage and interact with.
PROPOSAL 49 TECHNIQUE: Karen Dionisio-See 613168
PROPOSAL 48 TECHNIQUE: Karen Dionisio-See 613168
PRECEDENTS AIRSPACE TOKYO//FAULDERS STUDIO
LIVING PAVILION//BEHIN+HA
The facade of the building was designed by Faulders Studio, using interconnected linework, which layers and acts as the second skin of the whole building. The facade in some way becomes the ‘artificial vegetation’ providing light and shading throughout the whole building. This is a good example because it makes the industrial-made item into a natural organism through the overlapping effect of the pattern. By interconnecting lines and points, I can create such effect in the final project. Having a second skin or this element in the pavilion can detract people from seeing the industrial site at Merri Creek. The overlapping of lines can not only represent the vegetation but also be in comparison with the cables of the power lines. In Case Study 1.0 The Morning Line, I was able to play with different curves, from bezier curves to interpolated curves, generating an interlocking and overlapping model from just curves. One problem that this entails is the fabrication and connectiong of these curves. It may be achievable using a 3D printer, or if I covert round pipe lines to flat planar ones.
The Living Pavilion is a concaved structure, designed by the architects of Behin + Ha, who surrounded the whole structure with used milk crates, containing live plants that faces the interior of the pavilion. This project uses simple line curves to support and hang the milk crates. The milk crates become the pattern of the pavilion. With the installation of the plants, these two features generates an interplay between light and shadows, similar to the facade at the Airspace Tokyo building. The way they used the pattern (milk crates) as storage for the plants, and the use of the plants itself is interesting for me, which can later be used for the final design of the project. This contrasts and blocks the sight of the Brunswick Terminal Station. The implementation of the plants also softens the rigid and edgy patterns of a biomimetic structure. It gives a fresh and healthy outcome to the pavilion and the site, especially that it would reside next to the industrial facility.
OBJECTIVES 50 LEARNING Karen Dionisio-See 613168
OBJECTIVES 51 LEARNING Karen Dionisio-See 613168
LEARNING OBJECTIVES Interrogating a brief by considering the process of brief formation in the age of optioneering enabled by digital technologies
Before starting with PART B and the case studies, I had to analyse the brief of the project in order to create selection criteria and think of ways to create numerous iterations for the two case studies. In doing so, I began to focus on certain techniques to be used in Grasshopper including the use of the curves component, extrusions, intersect components and the cull patterns.
Developing “an ability to generate a variety of design possibilities for a given situation” For the case studies 1 and 2, i was able to create more than 20 iterations of the a given Grasshopper definition by exploring other options and algorithms, watching tutorials on Grasshopper and even using other parametric tools such as Kangaroo. With this, the ability to generate more design possibilities was achievable and can be more related to the design brief.
Developing “skills in various three-dimensional media”
I have begun to develop more skills and become more comfortable in using Grasshopper with Rhino compared to the first week of the semester. In case study 2.0, I was able to reverse engineer (with the help of various tutorials) the ICD ITKE Research Pavilion, and reiterate it in several options. The iterations made in the two case studies also proves how my skills in parametric modelling have improved.
Developing “an understanding of relationships between architecture and air”
In doing the prototype, I began to analyse how the model can be put in relationship to the setting and environment of the site. How would it be successful in terms of the site background of Merri Creek.
Developing “the ability to make a case for proposals”
In doing the case studies, I was able to focus on certain parametric tools that could influence the design concept of my final project, which became the starting point of my design proposals. It is through this where I could initiate my design of the form and patterns of the pavilion for the next chapter of this journal.
Develop capabilities for conceptual, technical and design analysis of contemporary architectural projects
From Part A to Part B, I was able to analyse several precedents that focused on parametric modelling as well as biomimicry and how they used them in order to create the structures that consitituted the digital theories. Through them, I realised the potentials and capabilities of parametric modelling in not just design, but in tackling other issues such as sustainability. The precedents have also aided in thinking of what could be good for the design of my pavilion (as seen in the design proposal)
Develop functional understandings of computational geometry, data structures and types of programming
I began to understand how different parametric tools and programming can be useful in creating designs or patterns for a project. For instance, Kangaroo can be used for form finding in relation to rhino and Grasshopper. Some definitions in Grasshopper such as path mapper, graph mapper and image sampler can recreate interesting patterns that would be beneficial for the design of my pavilion.
Begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application
As mentioned earlier, the case studies have helped in focusing and exploring the potentials of certain definitions, which I thought would be greatly beneficial and advantageous for the design of my final project. It was good to focus on certain items because it made me fully understand and become comfortable in using such algorithms.
SKETCHES 52 ALGORITHMIC Karen Dionisio-See 613168
SKETCHES 53 ALGORITHMIC Karen Dionisio-See 613168
ALGORITHMIC SKETCHES
This exercise plays with the effect of creating patterns using grasshopper by following an image through the image sampling definition. using circles as the primary geometry, i was able to follow the pattern of an image with the white parts of the illustration as the point coordinates for the circles. lofting these circles produce more dimension to the pattern, which could later be projected to various surfaces.
Continuing with the evaluating fields exercise, i created 3d forms from the curves through the loft and pipe components. the additional connection of the graph mapping curve produced different flows of the curves. the image on the left follows the movement of the initial curves made in rhino, while the images on the right encloses the curves from top to bottom. I personally like the former because it generates spaces and gaps in between the structure, which could be corridors for people to use and for light to pass through the hallways that can depict the effect and shadow play of light on trees.
SKETCHES 54 ALGORITHMIC Karen Dionisio-See 613168
SKETCHES 55 ALGORITHMIC Karen Dionisio-See 613168
ALGORITHMIC SKETCHES
Using the geometry of the icd/itke pavilion, i've used the path mapper to generate various patterns for the original hexagonal surface of the structure. with the path mapper, i was able to connect lines, curves and planes to different points in a given surface.
The graph mapper component helps in generating different patterns using graph types, various shapes and 2d mesh components like voronoi and delaunay. by just moving and changing the graph and the number of points divided, the pattern can be modified in an instant. in here, i have used polygons, circles, and ellipses as the shapes for producing the patterns.
Here is an example of using an undulated surface and clusters to generate a pattern or curves on the surface. the first image has four clusters in the definition, while the second one has eight. the latter is more dynamic, moving out of its original surface, compared to the first one.
PART C
DETAILED DESIGN
TABLE OF CONTENTS Detailed Design ----------------------------
56
•
Design Concept -------------------- 56
•
Tectonic Elements & Prototypes -- 86
•
Final Detail Model ------------------ 102
•
Learning Objectives and Outcomes ----------------------------------------------- 119
CONCEPT 56 DESIGN Karen Dionisio-See 613168
CONCEPT 57 DESIGN Karen Dionisio-See 613168
FEEDBACK ON THE INTERIM PRESENTATION One of the main issues highlighted in the interim presentation was the context of our research field in the site and in designing our pavilion. The idea of biomimicry, in the case of my project, should be related and important to the site. This made me reanalyse the site and rethink of how I can imitate nature in my design. In my previous case studies, such as the ICD/ ITKE Pavilion 2011, I looked at using various patterns from natural systems. So I researched on different natural patterns that can integrate the brief and the relevance of the site. I have decided to focus on the role of CERES in preserving and protecting the environment and how they help in continuing the growth of life around Merri Creek. CERES, as an educational centre for sustainability, also aims to spread information to the community about conservation and energy efficiency related issues. A pattern that occurs in several natural organisms is the Fibonacci Sequence, which represents the idea of growth, where it starts from a centre point, and gradually spreads outwards. For instance, one can see this spiral pattern in the central organ of a sunflower. Therefore, this natural pattern can become a symbol to the work of CERES and its role to the environment. In making the brief more specific, I have suggested that one of the main concepts for my pavilion is to build it as a distraction for the users from the Brunswick Terminal Station. The critics during the presentation thought that this was very difficult to do, in which it cannot be fully effective, especially that the power lines of the energy station extends through out the entire site of Merri Creek. I have decided to just focus on creating an experience or an effect that could help draw people away from the terminal stations, only when they pass through the pavilion. This can be done with the play of light and shadows in the structure, which I have explored on using the scaling algorithm in Grasshopper. Additional openings in the pavilion can also assist in moving people away from the station and to the creek.
PATTERN: FIBONACCI SEQUENCE
In doing my iterations for the case studies, I should have explored more on changing the pattern of, for instance, the ICD/ ITKE Research Pavilion 2011, as well as the main curves that follows the form of the structure. In making my own pavilion, I have based a similar Grasshopper definition to the case study and decided to change the main pattern and curves that would fit my design concepts and site analyses. In choosing various patterns for my design, I have added the graph mapper definition into my list of techniques to focus on. Although I mentioned about the idea on flexibility and using elastic tensile material in my design during my exploration of the prototype, I have decided to focus on making the form rigid after the critics discussed the importance of structure and the construction process of the final model. This made me look at, not only the design of the pavilion itself, but also the fabrication and structural components of the pavilion. I explored on some ways to create joints and connections for the surfaces of the pavilion, especially that each surfaces have various angles. This means that each intersection for the surfaces would need a support to strengthen their structure, thus preventing the pavilion from being too flexible. The definition of planar joints became important in the design process of my pavilion.
TECHNIQUE: SCALING
TECHNIQUE: GRAPH MAPPER
TECHNIQUE: PLANAR JOINTS
CONCEPT 58 DESIGN Karen Dionisio-See 613168
CONCEPT 59 DESIGN Karen Dionisio-See 613168
SITE ANALYSIS
RESIDENTIAL AREAS
WATERWAY
MAIN ROADWAYS
GREENERY
PATHWAYS
INDUSTRIAL
In finalising the locating of the pavilion in the site, I looked at how it can be engaging without disrupting the usual movement of the people who pass by the Merri Creek Trail. I also considered on how it can help celebrate the natural environment around the creek and how it can draw people away from the energy station. Placing the pavilion along the trail can achieve these things, especially that it is directly adjacent to the Brunswick Terminal Station, yet still surrounded by wildlife, and accessible by people coming from different directions of the trail. CIRCULATION
CONCEPT 60 DESIGN Karen Dionisio-See 613168
CONCEPT 61 DESIGN Karen Dionisio-See 613168
SITE ANALYSIS
Users of the pavilion will remain the same as the people commonly passing by the Merri Creek Trail, including residents around Merri Creek, students of East Brunswick Kindergarten, Northcote High School and Merri Creek Primary School,cyclists and dog walkers. Creating another opening towards Merri Creek would allow people to engage more with and see the natural environment around the creek.
CONCEPT 62 DESIGN Karen Dionisio-See 613168
CONCEPT 63 DESIGN Karen Dionisio-See 613168
PATTERN
CERES COMMUNITY ENVIRONMENT CENTER
SUNFLOWER
Centre point of the pattern
Double spiral similar to that of in sunflowers
The Fibonacci Sequence serves a symbol of the growth of life and biodiversity in Merri Creek, as well as the importance of conservation and sustainability in the environment. The centre point of the spiral pattern is the highest point of the pavilion. The pattern is projected and lifted using the Kangaroo tool in Grasshopper towards CERES who works on educating the community with sustainability and environmental awareness.
CONCEPT 64 DESIGN Karen Dionisio-See 613168
CONCEPT 65 DESIGN Karen Dionisio-See 613168
RELATIONSHIP TO THE SITE
CERES COMMUNITY ENVIRONMENT CENTER
RESIDENTIAL AREAS
MERRI CREEK
MERRI CREEK
BRUNSWICK TERMINAL STATION
MAIN ROADS/ ACCESS TO TRANSPORTATION
The form of the pavilion is based on the features and elements surrounding the site. Each angle or curve in the pavilion faces certain places in the site, such as CERES, Merri Creek and Brunswick Terminal Station.
CONCEPT 66 DESIGN Karen Dionisio-See 613168
CONCEPT 67 DESIGN Karen Dionisio-See 613168
OPENINGS
TO CERES
TO MERRI CREEK
TO MAIN ROAD
The openings of the pavilion face CERES, Merri Creek and the main road to transportation services. They are placed to continue the circulation of users in Merri Creek Trail and to encourage them to interact with the natural landscape around the creek. The height of the openings also differ, depending on the frequency of people passing by these entry ways.
CONCEPT 68 DESIGN Karen Dionisio-See 613168
CONCEPT 69 DESIGN Karen Dionisio-See 613168
PLAY OF LIGHT
CREATE SPIRAL/ FIBONACCI PATTERN
PROJECT PATTERN TO THE FINAL FORM
CREATE OPENINGS ON THE PAVILION
GRAPH MAPPER
KANGAROO
SCALE
SET BEZIER CURVE IN A CIRCULAR PLANE
CREATE THE CURVES TO BE FOLLOWED
EXTRACT CURVES FROM THE GEOMETRY
DIVIDE CURVES INTO 29 POINTS
TURN POLYLINES OF PATTERN INTO MESH
FIND CENTROID OF CURVES AND DIVIDE INTO TRIANGLE SURFACES
SELECT POINTS IN A true false true PATTERN
SET PARAMETERS FOR FORM FINDING ALGORITHMS IN KANGAROO
FIND AREA CENTROID OF EACH TRIANGLE AND SCALE ACCORDINGLY
TURN PATTERN CREATE INTO AN ELASTIC VORONOI WEB WITH Scaling the openings on the structure creates for the users. The SPRINGFROMLINE PLANES WITHINa different experience light gradually spreads from one endPOINTS to the other in the pavilion, which allows people
to move towards the creek, and away from the energy station.
INFLATE PATTERN AND INCREASE VOLUME WITH PRESSURE
SET x,y,z AXES TO LIFT PATTERN WITH UNARYFORCE
FIX INFLATED
EXTRUDE CURVES ACCORDINGLY IN THE NEGATIVE Z-AXIS
PROD CONN
P
I J
S
DEVELOPMENT 70 DESIGN Karen Dionisio-See 613168
DEVELOPMENT 71 DESIGN Karen Dionisio-See 613168
DESIGN DEVELOPMENT
Dividing curves into 35 points; On the right side of the pattern, the polygons seem a bit deformed and uneven, so this iteration is not used.
Trying to use the graph mapper on an eclipse plane since the form of the pavilion is elongated than circular. However, the pattern because unevenly distributed, especially when projected to the curves of the pavilion.
CREATE SPIRAL/ FIBONACCI PATTERN GRAPH MAPPER SET BEZIER CURVE IN A CIRCULAR PLANE
Dividing curves into 31 points; The pattern does not have a spiral pattern so this iteration is not used.
The spiral in this pattern is not that apparent, so this is not used.
DIVIDE CURVES INTO 29 POINTS
SELECT POINTS IN A true false true PATTERN
Dividing curves into 29 points; The pattern is spiral and the amount of hexagons are just enough for fabricating triangular planar surfaces, so this is used for the final pattern.
There are too many hexagons on the pattern, which means more triangular planar surfaces need to be fabricated, so this is not used.
PROJ TH
CREATE VORONOI PLANES WITHIN POINTS
Exploring on the base pattern for the pavilion that represents the Fibonacci Sequence.
C
DEVELOPMENT 72 DESIGN Karen Dionisio-See 613168
DEVELOPMENT 73 DESIGN Karen Dionisio-See 613168
DESIGN DEVELOPMENT
Developing the form and design of the pavilion to get the appropriate shape, pattern, openings and scale.
This final iteration is just right for the site. The scale is not overwhelming for the site, the form and openings are related to the site, and the pattern and scaling of the openings are apparent throughout the structure.
This iteration is still similar and close to the form of the ICD/ ITKE Research Pavilion 2011. It still lacks relationship with the site and brief so it is not used.
This second iteration is more connected to the site due to its form and openings. However, the scale is too large for the site, so this is not used as well.
DEVELOPMENT 74 DESIGN Karen Dionisio-See 613168
DEVELOPMENT 75 DESIGN Karen Dionisio-See 613168
DESIGN DEVELOPMENT
This is a section of the pavilion where I showed that there are variations in the thicknesses of the pavilion. This is not showed in the physical model due to time and sizes of the triangular planar surfaces that are very delicate to work with. This extrusion is for construction and structural purposes to help the whole pavilion stand on itself. This explains why the bottom part of the pavilion are thicker than the top most part.
This is a diagram of the pavilion that shows the supporting concrete slab that helps hold the structure up. If made in actual life, it will be placed on the points that carry the most loads from the structure, which are the surfaces that have direct contact on the ground of the site.
TECHNIQUE 76 DESIGN Karen Dionisio-See 613168
TECHNIQUE 77 DESIGN Karen Dionisio-See 613168
DESIGN TECHNIQUE CREATE SPIRAL/ FIBONACCI PATTERN
PROJECT PATTERN TO THE FINAL FORM
CREATE OPENINGS ON THE PAVILION
PRODUCE WEDGES FOR CONNECTION DETAILS
GRAPH MAPPER
KANGAROO
SCALE
INTERSECTION
SET BEZIER CURVE IN A CIRCULAR PLANE
CREATE THE CURVES TO BE FOLLOWED
EXTRACT CURVES FROM THE GEOMETRY
JOIN SURFACES AND SELECT INTERSECTING CURVES
DIVIDE CURVES INTO 29 POINTS
TURN POLYLINES OF PATTERN INTO MESH
FIND CENTROID OF CURVES AND DIVIDE INTO TRIANGLE SURFACES
FIND PERPENDICULAR PLANE OF THE CURVES
SELECT POINTS IN A true false true PATTERN
SET PARAMETERS FOR FORM FINDING ALGORITHMS IN KANGAROO
FIND AREA CENTROID OF EACH TRIANGLE AND SCALE ACCORDINGLY
CREATE CIRCULAR CURVES ON EACH PLANE
CREATE VORONOI PLANES WITHIN POINTS
TURN PATTERN INTO AN ELASTIC WEB WITH SPRINGFROMLINE
EXTRUDE CURVES ACCORDINGLY IN THE NEGATIVE Z-AXIS
SOLVE THE INTERSECTION OF JOINED SURFACES AND CIRCULAR CURVES
INFLATE PATTERN AND INCREASE VOLUME WITH PRESSURE
SPLIT THE SURFACES INTO TWO PARTS
SET x,y,z AXES TO LIFT PATTERN WITH UNARYFORCE
FIX INFLATED PATTERN TO THE INITIAL CURVES MADE
The diagram is a simplified parametric modelling process of the tools and techniques that I used for creating my design of the pavilion at Merri Creek.
CONSTRUCTION PROCESS 78 DESIGN/ Karen Dionisio-See 613168
CONSTRUCTION PROCESS 79 DESIGN/ Karen Dionisio-See 613168
DESIGN/ CONSTRUCTION PROCESS
1
2
3
FORM PATTERN
CURVES
KANGAROO
SCALE
EXTRUDE
WEDGES
UNROLL
LASER CUT
PUT COMPONENTS TOGETHER
DETAILS
FABRICATION
1 1
2
2
3 4
3
4
5
5
6 6
7 7
8
8
9
9
10
10
80 DESIGN Karen Dionisio-See 613168
81 DESIGN Karen Dionisio-See 613168
82 DESIGN Karen Dionisio-See 613168
83 DESIGN Karen Dionisio-See 613168
NORTH ELEVATION
EAST ELEVATION
SOUTH ELEVATION
WEST ELEVATION
84 DESIGN Karen Dionisio-See 613168
85 DESIGN Karen Dionisio-See 613168
OPENING 1
OPENING 3
OPENING 2
OPENING 2 & 3
ELEMENTS AND PROTOTYPES 87 TECTONIC Karen Dionisio-See 613168
ELEMENTS AND PROTOTYPES 86 TECTONIC Karen Dionisio-See 613168
TECTONIC ELEMENTS AND PROTOTYPES
CREATE SPIRAL/ FIBONACCI PATTERN GRAPH MAPPER SET BEZIER CURVE IN A CIRCULAR PLANE
1
2
3
I PROJECT have focused my onOPENINGS the jointsON or CREATE PATTERN TOprototypes connections that would help form the angle of THE PAVILION THE FINAL FORM the intersecting surfaces. This helps the whole structure because rigid and have its correct SCALE KANGAROO form, unlike the first prototype I have made in Part B, where the form is very flexible that it can be deformed easily. EXTRACT CREATE THE
2-WEDGES ON EACH INTERSECTION
INTERSECTION
CURVES TO BE FOLLOWED
CURVES FROM THE GEOMETRY
JOIN SURFACES AND SELECT INTERSECTING CURVES
DIVIDE CURVES INTO 29 POINTS
TURN POLYLINES OF PATTERN INTO MESH
FIND CENTROID OF CURVES AND DIVIDE INTO TRIANGLE SURFACES
FIND PERPENDICULAR PLANE OF THE CURVES
SELECT POINTS IN A true false true PATTERN
SET PARAMETERS FOR FORM FINDING ALGORITHMS IN KANGAROO
FIND AREA CENTROID OF EACH TRIANGLE AND SCALE ACCORDINGLY
CREATE CIRCULAR CURVES ON EACH PLANE
CREATE VORONOI PLANES WITHIN POINTS
TURN PATTERN INTO AN ELASTIC WEB WITH SPRINGFROMLINE
EXTRUDE CURVES ACCORDINGLY IN THE NEGATIVE Z-AXIS
SOLVE THE INTERSECTION OF JOINED SURFACES AND CIRCULAR CURVES
INFLATE PATTERN AND INCREASE VOLUME WITH PRESSURE
5-WEDGES ON EACH INTERSECTION
PRODUCE WEDGES FOR CONNECTION DETAILS
1 CLIP ON EACH INTERSECTION
SET x,y,z AXES TO LIFT PATTERN WITH UNARYFORCE
FIX INFLATED
SPLIT THE SURFACES INTO TWO PARTS
DETAIL IN LARGER SCALE
ELEMENTS AND PROTOTYPES 88 TECTONIC Karen Dionisio-See 613168
ELEMENTS AND PROTOTYPES 89 TECTONIC Karen Dionisio-See 613168
JOINTS PROTOTYPE 1 5-WEDGES ON EACH INTERSECTION
ELEMENTS AND PROTOTYPES 90 TECTONIC Karen Dionisio-See 613168
ELEMENTS AND PROTOTYPES 91 TECTONIC Karen Dionisio-See 613168
JOINTS PROTOTYPE 1
In this first prototype, I have used 5 wedges to generate the angle of the intersection of two surfaces. The prototype is successful because it becomes rigid and forms the correct angle. However, fabricating this in the whole pavilion would be time consuming and would waste materials. Trying less wedges might still make the form rigid while being time and material efficient.
ELEMENTS AND PROTOTYPES 92 TECTONIC Karen Dionisio-See 613168
ELEMENTS AND PROTOTYPES 93 TECTONIC Karen Dionisio-See 613168
JOINTS PROTOTYPE 2 2-WEDGES ON EACH INTERSECTION
ELEMENTS AND PROTOTYPES 94 TECTONIC Karen Dionisio-See 613168
ELEMENTS AND PROTOTYPES 95 TECTONIC Karen Dionisio-See 613168
JOINTS PROTOTYPE 2
In this second prototype, I have used only 2 wedges to form the angle of the intersection. The prototype is successful because it becomes rigid, gives the correct angle, and time and material efficient in terms of fabrication. This is the one used for the final design and model.
ELEMENTS AND PROTOTYPES 96 TECTONIC Karen Dionisio-See 613168
ELEMENTS AND PROTOTYPES 97 TECTONIC Karen Dionisio-See 613168
JOINTS PROTOTYPE 3 1 CLIP ON EACH INTERSECTION
ELEMENTS AND PROTOTYPES 98 TECTONIC Karen Dionisio-See 613168
ELEMENTS AND PROTOTYPES 99 TECTONIC Karen Dionisio-See 613168
JOINTS PROTOTYPE 3 This third prototype is not as successful as the first two. In here, I have produced gaps in between the planar surfaces and inserted clip joints in between them to connect them as well as give the angle. Because I have only used one clip joint for each intersection, the structure lacked rigidity and did not exhibit the right form. The notches of the joints are also too shallow, which made it hard to connect the surfaces.
ELEMENTS AND PROTOTYPES 100 TECTONIC Karen Dionisio-See 613168
ELEMENTS AND PROTOTYPES 101 TECTONIC Karen Dionisio-See 613168
LARGE SCALE DETAIL
This image is a more detailed prototype of the joints when a larger version (actual size of the pavilion) will be fabricated. The surfaces would have gaps in between them and the wedges are made up of full circular planes that have notches in them. This helps connect the surfaces together, provide rigidity and form the angle of their intersection.
This is the diagram of the image on the left showing how the surfaces would be connected with the wedge. This, however, does not have gaps in between the surfaces, which would also be done for the pavilion if made in real life.
DETAIL MODEL 102 FINAL Karen Dionisio-See 613168
DETAIL MODEL 103 FINAL Karen Dionisio-See 613168
UNSUCCESSFUL DETAIL MODEL
This is an unsuccessful attempt to the final model, which was supposed to be shown in the final presentation. The model was fabricated in the 1:20 scale, which produced surfaces and wedges (connections) that were too delicated and small to work with. Due to this attempt, I have made the final model in a 1:10 scale to show a more accurate detail of the surfaces and the wedges.
DETAIL MODEL 104 FINAL Karen Dionisio-See 613168
DETAIL MODEL 105 FINAL Karen Dionisio-See 613168
PROCESS
Prepare materials to be used: Glue, Cutting knife, paper clips.
Remove components from the laser cut material.
Remove the cut triangles for the openings.
Fold the tapered tabs.
Glue the wedges on the allocated intersections.
Put the components together, gluing the tabs together and clipping them until the glue dries up.
DETAIL MODEL 106 FINAL Karen Dionisio-See 613168
DETAIL MODEL 107 FINAL Karen Dionisio-See 613168
FINAL DETAIL MODEL
DETAIL MODEL 108 FINAL Karen Dionisio-See 613168
DETAIL MODEL 109 FINAL Karen Dionisio-See 613168
FINAL DETAIL MODEL
Openings towards the creek and CERES Community Centre.
Opening towards the main transportation roads.
DETAIL MODEL 110 FINAL Karen Dionisio-See 613168
DETAIL MODEL 111 FINAL Karen Dionisio-See 613168
FINAL DETAIL MODEL
Play of light and shadow inside the pavilion.
DETAIL MODEL 112 FINAL Karen Dionisio-See 613168
DETAIL MODEL 113 FINAL Karen Dionisio-See 613168
FINAL DETAIL MODEL
Wedges on the surfaces on the intersections.
DETAIL MODEL 114 FINAL Karen Dionisio-See 613168
DETAIL MODEL 115 FINAL Karen Dionisio-See 613168
FINAL DETAIL MODEL
Model in the dark.
DETAIL MODEL 116 FINAL Karen Dionisio-See 613168
DETAIL MODEL 117 FINAL Karen Dionisio-See 613168
FINAL DETAIL MODEL
Inside of the model.
OBJECTIVES AND OUTCOMES 118 LEARNING Karen Dionisio-See 613168
OBJECTIVES AND OUTCOMES 119 LEARNING Karen Dionisio-See 613168
LEARNING OBJECTIVES AND OUTCOMES After the final presentation of our project, the main feedback from the crits were regarding the layout of my presentation. It would have been better if I placed my diagrams and images in different slides rather than putting a lot of information together in one slide. In this way, when I talk about a diagram in my design, the audience would be able to understand my design better, and they would have a breathing time to gather all the information. Aside from that, my design, argument and diagrams were strong. However, I have not been able to present a physical model. My performance regarding the learning objectives in this studio is is similar to that discussed in Part B. My skills on Rhino and Grasshopper has further developed since the last interim presentation. I have learned more about creating joints, wedges and notches for putting components together. This avoids the need for using adhesives like glue that make the physical model messy. However, I have to use this material for my design because of the choice of connections I have made, which unfortunately gave negative outcomes for my final model. Furthermore, in thinking more of the site and the brief, I began to understand how to start designing my pavilion. What the concept would be and how it would be relevant to the site. Using the techniques and tools I have learnt in Grasshopper, I was able to translate my concept and ideas to the design of the pavilion. For instance, I wanted to link the symbolism of growth in the Fibonacci sequence to the pavilion and CERES. I have used the graph mapper algorithm to create a spiral pattern that would be projected to the whole structure. I also wanted to bring people more towards the creek and away from the terminal station. In architecture, the play of light and shadows can be influential to the experience of the users in a building. So creating varying scales of the triangular openings on the structure can create light effects inside the pavilion. These are just a few examples of how the design project affected my knowledge of architecture and the role of computation in the designing process.
121 BIBLIOGRAPHY Karen Dionisio-See 613168
BIBLIOGRAPHY: Kalay, Yehuda E. Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design. Cambridge, MA: MIT Press, 2004. Peters, Brady. “Computation Works: The Building Algorithmic Thought.“ Architectural Design 83, 2 (2013): 08-15. Schumacher, Patrik. “Parametricism - A New Global Style for Architecture and Urban Design.” Architectural Design - Digital Cities, 79 (2009). Wilson, Robert A. and Keil, Frank C. “Definition of ‘Algorithm’.” In The MIT Encyclopedia of the Cognitive Sciences. London: MIT Press, 1999.