Studio Air Journal by Kelly Choi

SEMESTER 2, 2017

AIR

CHOI CHUN WAI / 722479 TUTOR: FINNIAN WARNOCK #2

(Co)COUSTICS

PART A. CONCEPTUALISATION A1. Design Futuring A2. Design Computation A3. Composition/ Generation A4. Conclusion A5. Learning Outcomes A6. Appendix- Algorithmi Sketches

PART B. CRITERIA DESIGN B1. Research Field B2. Case Study 1.0 B3. Technique: Development B4. Technique: Prototypes B6. Technique: Proposal B7. Learning Objective & Outcomes B8. Appendix - Algorithmic Sketches

PART C. DETAILED DESIGN C1. Design Concept C2. Techtonic Elements & Prototypes C3. Final Detail Model C4. Learning Obkectives & Ourcomes

CONTENT

Image source â&#x20AC;&#x2DC;Zaha Paramatric Designâ&#x20AC;&#x2122;, Arch 20 (revised 2015) https://www.arch2o.com/10-parametric-plugins-every-architect-should-know/

INTRODUCTION

I am Kelly, currently double majoring architecture and urban planning & design in University of Melbourne. I was raised up in one of the high density city in the world, Hong Kong. As a kid grew up in a small and dense city, I always curious how can cities become more efficient and sustainable with a limited areas and resources. I believe design can shape our living to a higher level of sustainability and aesthetically. Architecture to me is a tool to connect people and the surrounded environments. A good architecture should not only meet its function needs, however, satisfy the environmental and social ethics. Architecture is built by people, it impacts the users, and further, it shapes the city.

CHOI CHUN WAI / KELLY FROM HONG KONG

‘TALENT IS GOOD, PRACTICE IS BETTER, PASSION IS BEST.’ FRANK LLYOD WRIGHT

Other than architecture and urban design, I am also interested in photography, graphic design and fine arts. I studied fine art in high school, was an assistant of a communication designer and joined an internship in a Hong Kong photography firm (Topix Limited). I also volunteered in an urban project held by Rideout1 in Hong Kong to study the possibility of local bike path in Hong Kong Island. To me, design in different aspects are closely associated, the different aspects are interrelated. Therefore we could learn one aspect and apply into another. With the arts background, I enjoy embracing architecture studies with arts and social context. Digital architecture is new to me. It is another window guide for me to a futuristic world. Furthermore, it allows architects to explore an idea programmatically and brings fascinated outcomes. ZCB Bamboo Pavilion (2016), in my home city Hong Kong, had amazed me how digital technologies can maximize the potential of a material to form a sustainable and elegant architecture. Digital architecture is the new stream of architecture, she considers it as a tool to drive us to another peak of architecture where aesthetic, functions and environmental sustainability could meet. I have developed my foundation understanding of Rhinoceros through ‘Studio Earth’ and ‘Studio Water’. These subjects provided chances for me to transform my anticipated design outcome from physical model to a digitally precise outcome. I am a fresher in Parametric Design, and I am looking forward that Studio Air can bring me even forward in the possibility of architecture.

Rideout is a non-government organization in Hong Kong formed by people passionate to cycle within urban city. They are exploring the possibility of a bike path set up in Hong Kong Island’s CBD area with professional support from traffic engineers, urban planners and architects.

INTRODUCTION

Figure. 1. ‘Urban Cocoon’, Spatial device design for ‘Umbrella Movement’ in Hong Kong, 2014

Figure. 2. ‘Whispering- a place for hiding secret in Herring Island’, Pavilion design for ‘Studio Earth’ subject, 2016

Figure. 3. ‘Boathouse’, Architecture design for ‘Studio Water’ subject, 2016

Figure. 4. ‘Rideout Project’, taken in meeting, 2017

Image source â&#x20AC;&#x2DC;Parametric designâ&#x20AC;&#x2122;, 3D concept lab (revised 2015) http://www.3dconceptlab.com/parametric-design/

A. CONCEPTUALISATION

A1. DESIGN FUTURING

What is design? A question we keep asking in every architecture student. The definition of design from Herbert Simon is always true, which design is about bringing the current situation to a better and preferred direction 1. We do not only see things, we foresee and anticipate the un-happened challenges and opportunities. Therefore, design is not a static state, but a diverse flow guiding us to a better possible world in future. Design in a way that sustaining our earth and facilitating the needs is the core of design for the future. As a new generation of designer, we should not only foresee what’s going to be cool to produce. On the hand, we have the responsibility to own our design ethics 2. It is vital to reflect if this is the preferable outcome and impact in every design stages. A values that people sustainability, equity in generations and balance with nature in their design. A collaborative design is easily approaching the better outcome. We have to connect, discuss and imagine together 3. Architecture is no longer an industry for “star-chitect” to solo their talent, but it should be a collaboration of work that based on society and nature needs. Obviously, it requires wider scope of research, knowledge to make it to be feasible.

Joern Langhorst, ‘Re-Presenting Site / Re-Claiming Place’ KERB (Journal of Landscape Architecture, Royal Melbourne Institute of Technology,14, 2006)

Tony Fry, Design futuring: sustainability, ethics and new practice (Sydney, University of New South Wales Press, 2009), pg. 1-16

Anthony Dunne, Speculative Everything: Design, Fiction, and Social Dreaming (MA, MIT Press, 2013), pg.1-7.

A. CONCEPTUALISATION

If we work with different expertise in and out of the fields, we can explore more alternatives which we have been never imagined by our own. Collaborate design encourages thinking and re- thinking in different perspectives, hence the design outcomes can fit the currents need and also the forthcoming.

The following case studies are precedence that show how environmental, social and cultural values can be transformed into architecture language. They are some of the capstones that we can appreciate and inspire from the new trend of architecture.

By consolidating our vision, ethics and network in our design practice, the future of design field is likely to bring brightness to our dying planet.

The future of us and our next generation will be brighter if we make the change now. It takes time to arrive our dream, so we better start nowâ&#x20AC;Ś

CASE STUDY 1

Nanyang Technological University Learning Hub (2015) DESIGN ETHICS x SUSTAINABILITY x WAYS OF THINKING The Nanyang Technological University Learning Hub in Singapore (2015) is a project which reimagined the idea of university learning space. The built project is a learning hub including lots of social spaces, vegetation, natural lights and fresh air unlike an ordinary university learning space4

Nanyang Technological University Learning Hub (2015) Architect: Heatherwick Studio Location: Singapore Status: Built Size: 14000.0 sqm

Figure. 5. ‘Heatherwick’s textured-tower university building completes in Singapore’.

Futuring design is to foresee what is about to be happen and what is about to beneficial us. Heatherwick Studio rethought about the meaning of good learning space to students. Also, they broken the radical image of learning space we used to see with carefully environmental concerns. The spatial quality shaped by the cluster of tapered towers has successfully brought the possible outcome architects have expected during their design process. As the balance between nature and users’ interaction has achieved by the form of building, students are welcome to interact, discuss and link with nature context within the building. Other than changing the learning environment to impacts how students learn in the hub, they also put effort on improving natural ventilation by its architecture form. Therefore, by the architecture languages of the building, users’ action is changing and towards the preferred one. It is an inspired example to show how the values of architects can be conveying by the form and spatial organization of their architecture. The Nanyang Technological University Learning Hub itself is a teaching tool to remind teachers and students the possibilities of future can carry out by our critical and innovative ideas. Users can try to communicate with the space as a lesson of learning. This architecture surely will be an inspiration precedent to upcoming educational architectures that aims to revolute what learning environments can be.

Radhika Sawhney, ‘Thomas Heatherwick Designs a Futuristic Learning Hub for Nanyang University in Singapore’, Inhabitate (revised 2013) http://inhabitat.com/thomas-heatherwick-designs-a-futuristic-learning-hub-for-nanyang-university-in-singapore/

Nina Henderson, ‘Learning Hub Heatherwick Studio’, Arcspace (revised 2016) http://www.arcspace.com/features/heatherwick-studio/learning-hub/

A. CONCEPTUALISATION

At the heart of the studio’s work is a profound commitment to finding innovative design solutions... This is achieved through a working methodology of collaborative rational inquiry, undertaken in a spirit of curiosity and experimentation.’ Heatherwick Studio5

Figure. 6. ‘Nanyang Technological University Learning Hub’. Image sources: Amy Frearson, ‘Heatherwick’s textured-tower university building completes in Singapore’, Dezeen (revised 2015) https://www.dezeen.com/2015/03/10/thomas-heatherwick-textured-tower-balconies-cpg-consultants-learning-hub-nanyang-technological-university-singapore/ CK Kong, ‘Nanyang Technological University Learning Hub’, The Middle Ground (revised 2015) https://www.dezeen.com/2015/03/10/thomas-heatherwick-textured-tower-balconies-cpg-consultants-learning-hub-nanyang-technological-university-singapore/

CASE STUDY 2

ZCB Bamboo Pavilion (2015) COLLABORATION DESIGN x LOCAL CONTEXT x COMPUTATION DESIGN The ZCB Bamboo Pavilion was a temporary pavilion built in Hong Kong on 2015. The precedent showed the innovative way of using local culture and natural materials by computational a strong and workable structured pavilion. The pavilion was built by bamboo which is the traditional materials used as scaffolding in Hong Kong7. With helps from the computational technologies, the extremely complex bamboo structure had touched the latent properties of bamboo.

ZCB Bamboo Pavilion (2015) Architect: Chinese University of Hong Kong, School of Architecture Location: Hong Kong Status: Temporary built Size: 372 sqm.

The pavilion itself collaborated the radical relationship between professional architects and craftsman in the industry. The completion of the ZCB pavilion did not only credit the architects and students, who involved the computation calculation of the structure. Meanwhile, the local craftsmen, who had rich experiences in hand-tied bamboo craftsmanship, had contributed a lot. This demonstrated the importance of interdisciplinary communication to work out an innovative architecture design.

Figure. 7. ‘ZCB Bamboo Pavilion Elevation’.

Figure. 8. ‘ZCB Bamboo Pavilion during construction’. ‘ZCB Bamboo Pavilion Constructed From Bamboo Poles’, Materia (revised 2016) https://materia.nl/article/zcb-bamboo-pavilion-bamboo-poles/

8 Eleanor Gibson, ‘Arching bamboo events pavilion in Hong Kong showcases digital fabrication’, Dezeen (revised 2016) https://www.dezeen.com/2016/11/22/zcb-bamboo-pavilion-students-chinese-university-of-hong-kong-world-architecture-awards-small-project/

A. CONCEPTUALISATION

Figure. 9. ‘ZCB Bamboo Pavilion in Carbon Zero Building’.

Being as a site for holding carbon free living exhibitions, the pavilion itself performed as a tool to educated the visitors. It conveyed the environmental ethics which about the possibility of local eco-materials cultures co-exist in an architecture to users. Although the pavilion had been demolished after the exhibition, the innovative thinking of merging local building technique and natural materials as an architecture core did truly inspire the many architects and citizens. This was a good start of reminding designers in globe to take good use of local craftsmanship and materials as a design tool. When we have a freedom to build, we also have to be critical of what is best to be built and how is the best way to build. The values of respecting local context should be spread around in the industry and keep inspiring other projects.

‘Hong Kong’s endangered craftsmanship of bamboo scaffolding construction is expanded through the introduction of digital form-finding and real-time physics simulation tools.’

Image source: Michael Law, ‘ZCB Bamboo Pavilion / The Chinese University of Hong Kong School of Architecture’, Archdaily (revised 2016)http://images.adsttc.com/media/images/5837/dbcb/e58e/ ce93/1c00/0091/large_jpg/ZCBBambooPavilion_02.jpg?1480055748 [4 March 2017] Kristof Crolla, ‘ZCB Bamboo Pavilion Elevation’, Archdaily (revised 2016) http://www.archdaily. com/800173/zcb-bamboo-pavilion-the-chinese-university-of-hong-kong-school-of-architecture/5837dbb9e58ece931c000090-zcb-bamboo-pavilion-the-chinese-university-of-hong-kongschool-of-architecture-image [4 March 2017] Figure. 6. ‘ZCB Bamboo Pavilion Elevation’.

Materia’s Editor8

A2. DESIGN COMPUTATION We, human being, have been pushing the evolution of architectures since we appeared in the planet. From an indigenous shelter to nowadays a new trend of digital architecture, the way we built is highly associated with the technology and knowledge we have invented and observed. Computation design apparently looks complex and futuristic. However, none of the new evolution of architecture tastes ‘normal’ when they just appear.

Parametric design is bringing architecture to another level, which the design concept is not constrained by a building, but its logic of the design can be reused and reinterpreted by different designers and situations. When the logic formed, its spread.

When design is more about new anticipation than repetition of works, computation design brings us to another level of experiment. We can challenge a wider scope of possibility of architecture. Architects should follow the effective short cut 9. Since the technology and materials shifts, computational design allows us to explore design principles systemically. Its saved huge amount of time of research and construct for reaching the preferable outcome from numerous of possible outcomes by doing it automatically in computer programs. Through computation design, we foresee farer, we generate better. Another benefits of computation design are that it carries out a new architectural language, parametric algorithmic design. In the past, a new architecture movement was about challenging the existed forms of architecture, in contrast, digital architecture is challenging the logic of building a form to architecture. The response of the design is deeper into the logic behind how the architecture should be build then purely about the form generation. With referenced from different aspects, like materials properties, fabrications experiments and science, construction and environment limits etc., architecture’s concepts can be shared the logical response broadly in current and future generation 10. As data and properties can be input into a computation process, a programmed logic approach is always effective and convincing even it is being applied in different situations.

Yehuda Kalay , ‘Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design’ (Cambridge, MA: MIT Press, 2004), pg. 5-25.

Rivka Oxman & Robert Oxman, ‘Theories of the Digital in Architecture’, (London; New York: Routledge, 2014), pg. 1–10.

A. CONCEPTUALISATION

CASE STUDY 3

ICD/ITKE Research Pavilion (2016) The precedent is an example of showing how computational design can challenge the potential of architecture with technology and creative minds. By studying the structural capacities material behavior and biological rules using algorithms and fabrication, an experiment of a light weight and long span fiber pavilion is produced. Such a complex and experimental study of a construction structure seems impossible without computation design. Or else, it may take years to test all the possibilities.

ICD/ITKE Research Pavilion (2016) Architects: Achim Menges & Jan Knippers Location: University of Stuttgart, Germany Status: Temporary Built

Figure.10. ‘Digital study of silk hammock spin’s structure’.

Computation design is a shortcut for designers and researchers to study the possibility of architecture. With help from the fabrication technology, many design can not only be a fantasy. Using robots and drones, the fiber pavilion was generated base on the study of silk hammocks spun12. Through building a parameter logic in computers, numerous of testing can be eliminated by only simply click bottoms in a computerize environments. Further, digital fabrication experiments also contribute the determination of entire structure. of the The ideas of the researchers from different disciplines can be systematically communicated through the computation algorithms and parameter inputs.

Figure.11. ‘Computation testing proess of the pavilion structure’. University of Stuttgart, ‘ICD/ITKE Research Pavilion 16-17’, Institute for Computational Design and Construction Officials (revised 2017) http://icd.uni-stuttgart.de/?p=18905

Eleanor Gibson, ‘Drones and robots weave carbon-fibre pavilion based on moth webs’, Dezeen, (revised 2017) https://www.dezeen.com/2017/04/12/icd-itke-research-pavilion-university-stuttgart-germany-carbon-fibre-robots-drones/

A. CONCEPTUALISATION

Figure.12. ‘Pavilion in University of Stuttgart’.

Computation Design does not stop our creativity, its bring us to a higher complexity of creativity. Computation Design maximizes the extent of creativity by linking different disciplines, aspects together. The engagement of computation design is a driver of the entire experiment in this case study. Designers can create a totally unique and innovative design even they consider similar approaches. The following case study (Silk Pavilion) is also generated by studying the biological principles of silk spun, yet its outcome is instinctively different.

‘The pavilion’s demonstrates the possibilities for fabricating structural morphologies ...and increasing the possible span of construction through integrating robotic and autonomous fabrication processes.’ ICD , University of Stuttgart 11

Image sources: University of Stuttgart, ‘ICD/ITKE Research Pavilion 16-17’s Design Process’, Institute for Compu tational Design and Construction Officials (revised 2017) http://icd.uni-stuttgart.de/?p=18905 University of Stuttgart, ‘ICD/ITKE Research Pavilion 16-17’s diagram’, Institute for Computational Design and Construction Officials (revised 2017) http://icd.uni-stuttgart.de/?p=18905 Reichert Burggraf, ‘Drones and robots weave carbon-fibre pavilion based on moth webs’, Dezeen, (revised 2017) https://www.dezeen.com/2017/04/12/icd-itke-research-pavilion-university-stuttgart-germany-carbon-fibre-robots-drones/ Figure. 6. ‘ZCB Bamboo Pavilion Elevation’.

CASE STUDY 2

The Silk Pavilion (2013) From the previous pavilion, it showed how computation design impact our processing time and imagination. In this example, it presented another opportunity of what architecture design can be. In ancient time, Vitruvius stated that the three central themes of architecture design are firmitas (strength), utilitas (functionality) and venustas (beauty) 11. And now, the silk pavilion attained this 3 central themes of design by inter- discipline knowledge. The entire research of this silk pavilion is the exchange of knowledge between architecture and science 13. For instance, the silkworm’s formation and ability. The strength, functionality of the pavilion is the combination of work between fabrication work and scientific observation. Finally, the beauty of nature is displayed by the pavilion itself. The Silk Pavilion (2013) Architect: Mediated Matter Research Group at the MIT Media Lab Location: MIT Media Lab, USA Status: Temporary built

Figure.13 . ‘Silk Pavilion set up in MIT Media Lab’.

A parametric design can construct effective and achievable design. Digital work seems to be un-natured. However, supporting by the technologies and skills that we have now and coming future, computation design allows us to explore deeply in the ‘truth of nature’. For example, the silk pavilion’s secondary strucure is constructed by silkworms and supported by a digital fabricated frame. The uniqueness of this outcome is incredibly inspiring to the architecture industries. Although this silk pavilion is only a testing pavilion, it proved us the possibility of corporate digital and biological interdisciplinary in design. If we know that we are far away from our preferable design environments, likely, computation design is facilitating our design industries to walk faster and easier to our destination.

Figure.14. ‘Schematics of the human-constructed portion of the pavilion’.

Vitruvius’s theories of beauty’, The British Library Board (revised 2015) http://www.bl.uk/learning/cult/bodies/vitruvius/proportion.html

Joseph Flaherty, ‘A Mind-Blowing Dome Made by 6,500 Computer-Guided Silkworms’, WIRED (revised 2013) https://www.wired.com/2013/07/your-next-3-d-printer-might-be-filled-with-worms/

MIT Media Lab, ‘Silk Pavilion: 2013 CNC Deposited Silk Fiber & Silkworm Construction’, MIT (revised 2013) http://matter.media.mit.edu/environments/details/silk-pavillion

A. CONCEPTUALISATION

‘The Silk Pavilion explores the relationship between digital and biological fabrication on product and architectural scales.’ MIT Media Lab 14 Figure.15. ‘Pavilion’s set up’.

Image sources : Steven Keating, ‘Silk Pavilion 1’, Archdaily (revised 2013) http://www.archdaily.com/384271/silk-pavilion-mit-media-lab/51b0f8a1b3fc4b225b000236-silk-pavilion-mit-media-lab-photo Steven Keating, ‘Silk Pavilion 2’, Archdaily (revised 2013) http://www.archdaily.com/384271/silk-pavilion-mit-media-lab/51b0f8a9b3fc4bbb7a000251-silk-pavilion-mit-media-lab-photo Jorge Duro-Royo, ‘Schematics of the human-constructed portion of the pavilion’, Archdaily (revised 2013)http://www.archdaily.com/384271/silk-pavilion-mit-media-lab/51b0f8b6b3fc4b225b000238-silk-pavilion-mit-media-lab-photo

A3. COMPOSITION/ GENERATION Compositional design is a main stream of form finding process for many decades in architecture discipline, which the form is generated by the uniqueness of spatial qualities on the site. Generative design refers to the design which are generated by the process of setting up rules and modification of outcome by adjusting parameters. Although generative design and compositional are completely differences design approach of creating architectures, they share a same goal, which is to make a responsive design. The next question is why we should shift from compositional design to generative design? When architectural performances become one of the important criteria of a contemporary architecture. The environmental impact is as vital as the fluidity of the form of an architecture now. The benefit of generative design is that it allows us to produce this kind of sustainable architecture in a more effective and efficient way. Algorithm does not only about outcomes, more importantly, the process of logic which generate the outputs from inputs 15.

The linage between design intention and realization allow wider possibilities with help from the computation. Algorithmic simulate the process of testing the performance of a design by a new of thinking logic 16. With helps rom fabrication, the ability of generating design according to the algorithm script is effective and efficient. The core of fabrication is rather strengthening the relationship between the design intent and its delivered outcome then purely about the manufacture operation process 17. Therefore, the process of generating algorithm script and digital fabrication allow wider scope of form finding intent and realization. Generative design does not kill architectureâ&#x20AC;&#x2122;s spirit; it guides us to a better level where optimizing an architectureâ&#x20AC;&#x2122;s overall performance.

By using algorithm, various of factors can be linked together and the complex relationship of elements can consider concurrently. It is especially benefit for creating a responsive design, as we can measure the impacts and workability of an architecture virtually and search for the best outcome.

Robert Wilson and Frank Keil, eds, The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press, 1999), pg. 11-12.

Peters, Brady, Computation Works: The Building of Algorithmic Thought (Architectural Design, 83, 2, 2013), pg. 08-15.

17 Bob Shell and Ruairi Glynn, FABRICATE: Making Digital Architecture (Riverside Architectural Press, 2013) pg. 10-11.

A. CONCEPTUALISATION

CASE STUDY 2

Elytra Filament Pavilion (2016) The Elytra Filament pavilion is an interesting precedent showing how to generate with helps from automatic fabrication technologies. The entire pavilion is created using a novel robotic to produce this tight woven carbon fibre cells18. Inspired by the beetle elytra’s nature principals of light and strong structure, the pavilion was computationally derived to meet both the structure and design intents. The pavilion was spanned over 200 meter square, however weight less than 2.5 tonnes19. The complexity of the design concepts considered materials abilities, structure simplicity and design response by setting algorithm rules. Moreover, part of the pavilion The pavilion is responsive to its design intents from form finding to fabrication. Elytra Filament Pavilion (2016) Architects: Achim Menges (ICD), Jan Knippers (ITKE), Thomas Auer (TUM) Location: Victoria & Albert Museum, London Status: Temporary Built

The case showed the most beneficial impact of generative design to the industries, as it shortens the entire design processing without losing the quality and effectiveness of a responsive design. Further, its allows us to simulate complexity design concerns through algorithm and digital fabrication.

Figure.16. ‘Elytra Filament Pavilion in V&A Museum London’.

Figure.17. ‘Integrated Sensor Systems of Elytra Filament Pavilion’.

University of Stuttgart, ‘Elytra: Filament Pavilion 15-16’, Institute for Computational Design and Construction Officials (revised 2016) http://icd.uni-stuttgart.de/?p=15826

19 Victoria and Albert Museum Officals, ‘About the Elytra Filament Pavilion’, Victoria and Albert Museum Officals, (revised 2016) https://www.vam.ac.uk/articles/about-the-elytra-filament-pavilion 20 V&A, ‘Elytra Filament Pavilion’, Achimmenges, (revised 2016) http://www.achimmenges. net/?p=5922

A. CONCEPTUALISATION

Figure.18. ‘Close up of the tight woven carbon fibre cells of Elytra Filament Pavilion’.

‘The cellular canopy grows from an onsite fabrication nucleus, and it does so in response to patterns of inhabitation of the garden over time, driven by real time sensing data.’ V&A 20 Image sources : V&A, ‘Robotically fabricated carbon-fibre pavilion opens at the V&A’, Dezeen (revised 2016) https://www.dezeen.com/2016/05/18/robotically-fabricated-carbon-fibre-pavilion-opens-va-museum-london-university-of-stuttgart-achim-menges/ ICD, ‘Integrated Sensor Systems - Elytra Filament Pavilion - V&A Museum London’, ICD Vimeo (revised 2016) https://vimeo.com/181182894 V&A, ‘the Elytra Filament Pavilion’, Victoria and Albert Museum Officals (revised 2016) https://www.vam.ac.uk/exhibitions/elytra-filament-pavilion

CASE STUDY 2

Louvre Abu Dhabi (2017) This remarkable new art museum on Abu Dhabi is going to open in the late of this year. Leading by one of the most influence architect in the world, Jean Nouvel, the projects is intended to balance the strength in environmental, structural and lighting performance 21. Since the the roof structure of the museum is inspired by the local Arabian vegetation, the dragon blood tree’s natural water system, the complex roof structure its parametrically designed to attain the optimized stiffness distribution in the dome with minimum weight. The patterning of roof is generated by ten different layers to allow natural light enters without interrupt the structure ability.

Louvre Abu Dhabi (2017) Architect: Jean Nouvel Location: Abu Dhabi Status: Completing

Figure.19. ‘Louvre Abu Dhabi’s Render’.

Undoubtedly, the design intent of Louvre Abu Dhabi is inspiring as its does not only challenging the possibility of form generation by parametric and fabrication, it also praised the wisdom of local natural materials. Yet, there is another shortcoming of generative design appeared. As the museum’s entire construction cost 3 billion to build, it construction schedule is delayed for years because they are lack of funding 22. This raised a concern of worthiness to trade off cost, time and money, for an effective generative design. I would take the account into generative design in fact is still a fresh era. Therefore, it is likely to take longer time to attain a level where its production cost can be reduced to an acceptable range. When the mature stage attains, it can become more common in the industries. While we are expecting more on the performance generative design, there is a need to put effort on investigating the potential ability of parametric software and digital fabrication. Soon, a responsive design can be produce as easy as the common compositional designed architecture by generative design.

Figure. 20. ‘Dome transversal section of Louvre Abu Dhabi’.

Bob Shell and Ruairi Glynn, FABRICATE: Making Digital Architecture (Riverside Architectural Press, 2013) pg. 240-243.

22 John Arlidge, The Louvre Abu Dhabi will open this year and curator Jean-Luc Martinez is just a bit terrified (revised 2017) https://www.wallpaper.com/art/curator-jean-luc-martinez-on-openingthe-louvre-abu-dhabi-this-year 23 Saadiyat Cultural District Officals ‘Louvre Abu Dhabi’, Saadiyat Cultural District Officals (revised 2017) http://saadiyatculturaldistrict.ae/en/saadiyat-cultural-district/louvre-abu-dhabi/

A. CONCEPTUALISATION

29 Image sources : Jean Nouvel, ‘In Progress Louvre Abu Dhabi: Render’, Archdaily (revised 2016) http://www.archdaily.com/793182/in-progress-louvre-abu-dhabi-jean-nouvel/57acdcdee58eceaff600011c-in-progress-louvre-abu-dhabi-jean-nouvel-render Jean Nouvel, ‘In Progress Louvre Abu Dhabi: Dome transversal section’, Archdaily (revised 2016) http://www.archdaily.com/793182/in-progress-louvre-abu-dhabi-jean-nouvel/57acde19e58ecef5d40002d9-in-progress-louvre-abu-dhabi-jean-nouvel-dome-transversal-section Jean Nouvel, ‘Louvre Abu Dhabi : projet architectura’, Louvre (revised 2017) http://www.louvre.fr/en/louvre-abu-dhabi

‘It is a new museum for Abu Dhabi. It is from this country, by this country. We are working for current and future generations here in the UAE. That is its heart. Bon!’ Jean-Luc Martinez, president of the Musée du Louvre23 Figure. 21. ‘Louvre Abu Dhabi’s projected interior atmosphere’.

A4. CONCLUSION

The responsibility of designer does not only confine by consider what is preferred now, more importantly we have to foresee what is going to benefits us. There is a need to design with ethics which we are facilitating the environmental, social impacts through the building performances. It will be beneficial if we can collaborate in different discipline. Through to exchange our knowledge, we can enlarge our imagination towards the possibility of what to be design. Technologies advancement bring us a new era in architectural design. Parametric computation design, new materials invention and advanced digital fabrication allows a to produce effective design by setting up algorithm. Despite Computation design may have destroyed the traditional composition oriented culture in architecture design, it brings us to a new way of generating form approach through consider a more complex design intent. Generative design is stimulating the time and effort to attain a sustainable architecture. So that responsive and optimized design can be produced through digitally testing the overall performance.

Digital architecture opened a door for designers to explore the new possibility of architecture through the parametric design process, digital fabrication and advanced construction techniques. I especially appreciated designs that is intents to intimate nature’s principals. Biomimicry design approach most matched my value of what a responsive architecture should be. By appreciating what nature’s then regenerate it back to our design to benefits people and environments. Moreover, it will be better if we can consider sustainable materials and local context in the upcoming design. Therefore, further research will be made in the next chapter.

Image source Thommaso Casucci, ‘Turbulent structures’, Synthetic Morphologies (revised 2017) http://synth-e-techmorph.blogspot.com.au/

A. CONCEPTUALISATION

A5. LEARNING OUTCOMES

In this first 3 week of the study in Studio Air, I have enriched my understanding of how digital architecture can benefit us. I opened my eyes in terms of the possibility of architecture from form generation, materials use, structure ability to constructing method. Through learning grasshopper, I understand that parametric design is a new way of logic thinking that stimulating us to process our design. By setting up parametric command and algorithm, a complex situation can be solved. In the past, computation to me is just for representation, but not its more about creation and generation. Therefore, learning more about parametric design can widen the possibilities of my design. I believe I can step closer to my dream in design in this journey, where an aesthetical, functional and environmental sustainable design can be produced.

APPENDIX: ALGORITHMIC SKETCHES

01 TRIANGULATIONS

01 TRIANGULATIONS Pre-defined triangulation algorithms in 2D & 3D can quickly produce complex structure only with simple geometryâ&#x20AC;&#x2122;s limit 02 LOFT + CONTOURING Lofting surface from geometries can easily create a smooth and tidy surface which vary with the parameters. Furthermore, producing contour style lofting surface. 03 ATTRACTIVE POINTS Combining the parameters for lofting and attractor, an interesting outcome of surface produced.

A. CONCEPTUALISATION

02 LOFT + CONTOURING

03 ATTRACTIVE POINTS

BIBLIOGRAPHY (PART A) TEXTS 1. Arlidge, John, The Louvre Abu Dhabi will open this year and curator Jean-Luc Martinez is just a bit terrified (revised 2017) https://www.wallpaper.com/art/curator-jean-luc-martinez-on-opening-the-louvre-abu-dhabi-this-year 2. Brady, Peters, Computation Works: The Building of Algorithmic Thought (Architectural Design, 83, 2, 2013) 3. Dunne, Anthony, Speculative Everything: Design, Fiction, and Social Dreaming (MA, MIT Press, 2013) 4. Flaherty, Joseph, ‘A Mind-Blowing Dome Made by 6,500 Computer-Guided Silkworms’, WIRED (revised 2013) https://www. wired.com/2013/07/your-next-3-d-printer-might-be-filled-with-worms/ 5. Fry, Tony, Design futuring: sustainability, ethics and new practice (Sydney, University of New South Wales Press, 2009) 6. Gibson, Eleanor, ‘Arching bamboo events pavilion in Hong Kong showcases digital fabrication’, Dezeen (revised 2016) http://inhabitat.com/thomas-heatherwick-designs-a-futuristic-learning-hub-for-nanyang-university-in-singapore/ 7. Henderson, Nina, ‘Learning Hub Heatherwick Studio’, Arcspace (revised 2016) http://www.arcspace.com/features/heatherwick-studio/learning-hub/ 8. Kalay, Yehuda, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pg. 5-25. 9. Langhorst, Joern, Re-Presenting Site / Re-Claiming Place (Journal of Landscape Architecture, Royal Melbourne Institute of Technology,14, 2006) 10. MIT Media Lab, ‘Silk Pavilion: 2013 CNC Deposited Silk Fiber & Silkworm Construction’, MIT (revised 2013) http://matter. media.mit.edu/environments/details/silk-pavillion 11. Oxman, Rivka, & Oxman, Robert, Theories of the Digital in Architecture (London; New York: Routledge, 2014) 12. Saadiyat Cultural District Officals ‘Louvre Abu Dhabi’, Saadiyat Cultural District Officals (revised 2017) http://saadiyatculturaldistrict.ae/en/saadiyat-cultural-district/louvre-abu-dhabi/ 13. Sawhney, Radhika, ‘Thomas Heatherwick Designs a Futuristic Learning Hub for Nanyang University in Singapore’, Inhabitate (revised 2013) http://inhabitat.com/thomas-heatherwick-designs-a-futuristic-learning-hub-for-nanyang-university-in-singapore/ 14. Shell, Bob and Glynn, Ruairi, FABRICATE: Making Digital Architecture (Riverside Architectural Press, 2013) 15. University of Stuttgart, ‘Elytra: Filament Pavilion 15-16’, Institute for Computational Design and Construction Officials (revised 2016) http://icd.uni-stuttgart.de/?p=15826 16. University of Stuttgart, ‘ICD/ITKE Research Pavilion 16-17’, Institute for Computational Design and Construction Officials (revised 2017) http://icd.uni-stuttgart.de/?p=18905 17. Victoria and Albert Museum Officals, ‘About the Elytra Filament Pavilion’, Victoria and Albert Museum Officals, (revised 2016) https://www.vam.ac.uk/articles/about-the-elytra-filament-pavilion 18. ‘Vitruvius’s theories of beauty’, The British Library Board (revised 2015) http://www.bl.uk/learning/cult/bodies/vitruvius/proportion.html 19. Wilson, Robert A. and Frank C. Keil, eds, The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press, 1999) 20. ‘ZCB Bamboo Pavilion Constructed From Bamboo Poles’, Materia (revised 2016) https://materia.nl/article/zcb-bamboo-pavilion-bamboo-poles/

A. CONCEPTUALISATION

IMAGES 1. Burggraf, Reichert, ‘Drones and robots weave carbon-fibre pavilion based on moth webs’, Dezeen, (revised 2017) https:// www.dezeen.com/2017/04/12/icd-itke-research-pavilion-university-stuttgart-germany-carbon-fibre-robots-drones/ 2. Crolla, Kristof, ‘ZCB Bamboo Pavilion Elevation’, Archdaily (revised 2016) http://www.archdaily.com/800173/zcb-bamboo-pavilion-the-chinese-university-of-hong-kong-school-of-architecture/5837dbb9e58ece931c000090-zcb-bamboo-pavilion-the-chinese-university-of-hong-kong-school-of-architecture-image 3. Duro-Royo, Jorge, ‘Schematics of the human-constructed portion of the pavilion’, Archdaily (revised 2013) http://www.archdaily.com/384271/silk-pavilion-mit-media-lab/51b0f8b6b3fc4b225b000238-silk-pavilion-mit-media-lab-photo 4. Frearson, Amy, ‘Heatherwick’s textured-tower university building completes in Singapore’, Dezeen (revised 2015) https:// www.dezeen.com/2015/03/10/thomas-heatherwick-textured-tower-balconies-cpg-consultants-learning-hub-nanyang-technological-university-singapore/ 5. ICD, ‘Integrated Sensor Systems - Elytra Filament Pavilion - V&A Museum London’, ICD Vimeo (revised 2016) https://vimeo.com/181182894 6. Keating, Steven, ‘Silk Pavilion 1’, Archdaily (revised 2013) http://www.archdaily.com/384271/silk-pavilion-mit-media-lab/51b0f8a1b3fc4b225b000236-silk-pavilion-mit-media-lab-photo 7. Keating, Steven, ‘Silk Pavilion 2’, Archdaily (revised 2013) http://www.archdaily.com/384271/silk-pavilion-mit-media-lab/51b0f8a9b3fc4bbb7a000251-silk-pavilion-mit-media-lab-photo 8. Kong, CK, ‘Nanyang Technological University Learning Hub’, The Middle Ground (revised 2015) https://www.dezeen. com/2015/03/10/thomas-heatherwick-textured-tower-balconies-cpg-consultants-learning-hub-nanyang-technological-university-singapore/ 9. Law, Michael, ‘ZCB Bamboo Pavilion / The Chinese University of Hong Kong School of Architecture’, Archdaily (revised 2016) http://images.adsttc.com/media/images/5837/dbcb/e58e/ce93/1c00/0091/large_jpg/ZCBBambooPavilion_02. jpg?1480055748 10. Ng, Kevin, “ZCB Bamboo Pavilion Construction’, HKFP (revised 2017) https://www.hongkongfp.com/2017/02/12/pictures-not-just-scaffolding-kowloon-bays-stunning-bamboo-pavilion/ 11. Nouvel,Jean, ‘In Progress Louvre Abu Dhabi: Dome transversal section’, Archdaily (revised 2016) http://www.archdaily. com/793182/in-progress-louvre-abu-dhabi-jean-nouvel/57acde19e58ecef5d40002d9-in-progress-louvre-abu-dhabi-jean-nouvel-dome-transversal-section 12. Nouvel,Jean, ‘In Progress Louvre Abu Dhabi: Render’, Archdaily (revised 2016) http://www.archdaily.com/793182/inprogress-louvre-abu-dhabi-jean-nouvel/57acdcdee58eceaff600011c-in-progress-louvre-abu-dhabi-jean-nouvel-render 13. Nouvel,Jean, ‘Louvre Abu Dhabi : projet architectura’, Louvre (revised 2017) http://www.louvre.fr/en/louvre-abu-dhabi 14. V&A, ‘The Elytra Filament Pavilion’, Victoria and Albert Museum Officals (revised 2016) https://www.vam.ac.uk/exhibitions/elytra-filament-pavilion 15. V&A, ‘Robotically fabricated carbon-fibre pavilion opens at the V&A’, Dezeen (revised 2016) https://www.dezeen. com/2016/05/18/robotically-fabricated-carbon-fibre-pavilion-opens-va-museum-london-university-of-stuttgart-achim-menges/ 16. University of Stuttgart, ‘ICD/ITKE Research Pavilion 16-17’s design process’, Institute for Computational Design and Construction Officials (revised 2017) http://icd.uni-stuttgart.de/?p=18905 17. University of Stuttgart, ‘ICD/ITKE Research Pavilion 16-17’s diagram’, Institute for Computational Design and Construction Officials (revised 2017) http://icd.uni-stuttgart.de/?p=18905

B. CRITERIA DESIGN

Image source Ethan Beute, â&#x20AC;&#x2DC;On Mosses, Modesty, and Sustainabilityâ&#x20AC;&#x2122;, Synthetic Morphologies (revised 2016) http://ethanbeute.com/sustainability-modesty-consumerism-mosses/

B1. RESEARCH FIELDS BIOMIMICRY = A CONCEPT OF SUSTAINABLE DRIVEN DESIGN INSPIRED BY THE NATURE From the discussion in Part A, it is clear that there is a need shifting to a sustainable and responsive design for our better future. With helps from current fabrication technologies and parametric design skills, the possibility of architecture is widening. Biomimicry, which using nature as a design tool, is particularly effective to driven sustainable design. As we are inspired by things that is built by million years of evolution in nature. Biomimicry is ‘‘a new science that studies nature’s models and then imitates or takes inspiration from these designs and processes to solve human problems’’ 24. Yet, biomimicry does not equivalent to sustainable design. Only an adaptive biomimicry design which can demonstrates the complicated relationships between material, form, space and structure is able to attain the desirable outcomes. In short, it should be able to increase resource efficiency and symbiotic with environments.

J. M. Benyus, Biomimicry: Innovation inspired by nature (New York: Harper Perennial, 2002)

B. CRITERIA DESIGN

39 Image source Ethan Beute, â&#x20AC;&#x2DC;On Mosses, Modesty, and Sustainabilityâ&#x20AC;&#x2122;, Synthetic Morphologies (revised 2016) http://ethanbeute.com/sustainability-modesty-consumerism-mosses/

CASE STUDY 1

FAZ Pavilion (2010) #BIOMIMICRY #INTERACTIVE #PASSIVE DESIGN DESIGN CONCEPT The surface of FAZ pavilion aimed to respond the humidity change passively based on their previous biomimetic research. FORM & BEHAVIOUR

FAZ Pavilion (2010) Architect: Achim Menges, Scheffler + Partner Location: Frankfurt, Germany Status: Temporary Built

‘Ecosystems optimise the system rather than its components 25’, so the interrelationship between the form and functions are vital in a biomimicry design. Inspired by the system from Conifer cones, which the reproduction of the cones will open and close according to the humidity level change. The FAZ Pavilion was adapting the way Conifer cones respond to changing humidity as its envelope would open when it was dry while enclosed when it is humid. An interactive architecture which responsive with the surrounded environment is generated. Hence, to provide different spatial experience by passively respond to the weather.

Figure. 22. ‘FAZ Pavilion in dry weather’s projection’.

‘The design integration of material characteristics and fabrication parameters to achieve both, a variable composite component and differentiated system morphology, enables a direct response to environmental influences with no need for any additional electronic or mechanical control.’ ICD, University of Stuttgart 27

Pedersen Zari & J.B. Storey, ‘An ecosystem based biomimetic theory for a regenerative built environment’, In Sustainable Building Conference, 7 (2007)

26 El Ahmar, Salma, Antonio Fioravanti, & Mohamed Hanafi, A methodology for computational architectural design based on biological principles : Computation and Performance (eCAADe 2013: 31st International Conference on Education and research in Computer Aided Architectural Design, 2013) 27 ICD University of Struttgart, ‘FAZ Pavilion Frankfurt’, achimmenges.net http://www.achimmenges.net/?p=4967

B. CRITERIA DESIGN

Figure. 23. ‘FAZ Pavilion in wet weather’s projection’.

STRUCTURE & RESPONSE To adapted this climate responsive envelope, the entire design process is integrated with computation design by setting algorithm. Through testing the material density, curvature etc., the performance response is projected to the structure of the pavilion so to integrated them as one 26. Therefore, the structure is the result of computational generation. Since multiple criteria can be considered in the system, this project also proved the success of biological collaboration with design technologies through biomimicry approach.

Figure. 24. ‘Fabricated envelope of FAZ Pavilion’.

Image sources: ‘FAZ Pavilion Frankfurt’, achimmenges.net (revised 2010) http:// www.achimmenges.net/?p=4967 ICD Institute, ‘Versuchsaufbau Verformung’, DBZ (revised 2011) http://www.dbz.de/artikel/dbz_Klima-Reaktor_FAZ_Sommer-Pavillon_Frankfurt_a._M._1296563.html ICD Institute, ‘Oberflächenvarianzen’, DBZ (revised 2011) http:// www.dbz.de/artikel/dbz_Klima-Reaktor_FAZ_Sommer-Pavillon_ Frankfurt_a._M._1296563.html ICD Institute, ‘Öffnungszustand bei schlechtem Wetter’, DBZ (revised 2011) http://www.dbz.de/artikel/dbz_Klima-Reaktor_FAZ_ Sommer-Pavillon_Frankfurt_a._M._1296563.html Figure. 25. ‘Material performance testing for FAZ Pavilion’.

CASE STUDY 2

Eden Project (2001) #BIOMIMICRY #GEODESIC #FUTURE-PROOF DESIGN CONCEPT The core concept of The Eden project its to create biomes which attain energy and structure efficiency with minimal waste 28. More importantly, it should be an architecture that could educate people about the possibility of sustainable architecture with biological inspiration. FORM & BEHAVIOUR

Eden Project (2001) Architect: Grimshaw Architects Location: Cornwall, United Kingdom Status: Built

Figure. 26. ‘The Eden Project in Cornwall’.

The Eden project is a remarkable example of how to make good use of the biologic clues in architecture. Inspired by the flexible structure of soap bubbles, the greenhouses can land on the uneven and unstable surfaced site. Two biome buildings are both formed by soap bubble liked domes and linked by a building. This structure cannot be explored without the helps from parametric systems 28. The steady form and behaviour of the architecture was generated by algorithms. MATERIAL & RESPONSE Innovative materials and effective environmental response is achieved in the Eden Project. In order to increase the energy efficiency such as maximise the gain of sunlight and solar heat, the domes are covered by transparent windows that made of thylene tetra¬fluoroethylene copolymer (ETFE). ETFE is extremely light compare to traditional glass, meanwhile is durable and with high strength. Three layers of ETFE are inflated to create the pillow liked hexagon or pentagon window. Therefore, the use of ETFE allow the possibility of light structure as well as less heating or cooling in the greenhouses. STRUCTURE Minimum weight and maximum curved surface area can be attained by geodesic concept 29. Although the biome dome is giant, its can be support by a light bolted steel structure. Studying pollen grains and radiolaria and carbon molecules helped the designers generate the most efficient structural solution using hexagons and pentagons. By using two layers of hex-tri-hex space frame, the structure is able to support the entire building loads. Further, its weights only slightly heavier than the air inside the Biomes dome.

Tom Harris, ‘How the Eden Project Works’, HowStuffWorks.com (revised 2011) http://science.howstuffworks.com/environmental/conservation/conservationists/eden1.htm

Michael Pawlyn, Using nature’s genius in architecture (TEDSalon: London,2010) in TED conference https://www.ted.com/talks/michael_pawlyn_using_nature_s_genius_in_architecture [accessed August 2017]

30 Robert Woodbury, How Designers Use Parameters: Theories of the Digital in Architecture (New York: Routledge, 2014), pg.167 31 Eden project officials, ‘Architecture at Eden’, Eden project officials (revised 2015) http://www. edenproject.com/eden-story/behind-the-scenes/architecture-at-eden

B. CRITERIA DESIGN

Figure. 27. ‘Rainforest biome dome’s interior view’.

Figure. 28 ‘Design generation of the Eden Project’.

‘Promote the understanding and responsible management of the vital relationship between plants, people and resources, leading towards a sustainable future for all’ The Eden Project 31

Image sources: Tamsym William, ‘Hero Eden’, Eden project officials (revised 2015) http://www.edenproject.com/ Hufton Crow, ‘Rainforest biomimicy eden project, Eden project officials (revised 2015) http:// www.edenproject.com/ Marianoarq, ‘LA VERSÁTIL ARQUITECTURA MODULAR’, BREATHING ARCHITECTURE (revised 2013) https://breathingarchitecture.wordpress.com/2013/04/07/la-versatil-arquitectura-modular/planos2/

B2. CASE STUDY 1.0

Figure. 29 ‘Spanish Pavilion’.

Spanish Pavilion (2005) Architect: Alejandro Zaera Polo Location: 2005 World Exposition, Aichi, Japan Status: Temporary built

BRIEF INTRODUCTION The outer skin of Spanish pavilion explored the cultural background of the country through the hexagonal non-repetitive pattern. The form was generated by studying Christian and Islamic’s architectural characteristics. Tracing back to arches, vaults and traceries in religion architectures in Spain, the final outcome of the pavilion envelop is produced.

Figure. 30 ‘Spanish Pavilion details’.

Simon Glynn, ‘Spanish Pavilion’ , Galinsky (revised 2005) http://www.galinsky.com/buildings/ spainaichi/

B. CRITERIA DESIGN

Figure. 31 ‘Spanish Pavilion facade’.

SLECTION CRITERIA The following criteria accesses the algorithm experiments according to the adaptability and feasibility of the possible design outcomes. 4 highlighted outcomes which can successfully meet the selection criteria will be choose out of the matrix record for future exploration. Aesthetics is the generated outcome elegant and interesting? Flexibility Can the generated outcome bent-able, fold-able or twist-able? Constructability Is the generated outcome able to fabricate with natural materials, like timber? Spatial Potential Does the generated outcome allow to generate high quality of spatial environment? Image sources: WF3, ‘Oranges for Spain’, flickriver (revised 2005) http://www.flickriver.com/photos/87789260@ N00/35035145/ ‘Façade Covering, Spanish Expo Pavilion’, Stylepark (revised 2005) https://www.stylepark.com/ en/ceramica-cumella/facade-covering-spanish-expo-pavilion-aichi-japan ‘Spanish Pavilion Expo 2005’, architecture library (revised 2013) http://architecture-library.blogspot.com.au/2013/12/spanish-pavilion-expo-2005-haiki-aichi.html

01 IMAGE SAMPLING By pasting up different patterns on the image sampler, to explore the possible patterning on the grid. Parameter: Image Sampler

02 INTERNAL POINTS By adjusting the vectos of the internal points, to deconstruct the possible shape of the grid. Parameter: Internal points -0.5, -0.5, 0.5, 0.5

-0.6, -0.8, 0.6, 0.8

03 EXTRUSION By e xtruding t he g rids in d ifferent a ltitude, t o study the potential forms in 3 dimension. Parameter: Extrude

factors: 2, -1 f

actors: 6, -3

04 ATTRACTIVE POINT(S) By placing attractive point(s) in different position, to investigate a interactive forms in 3 dimension. Parameters: Point(s), d ivide curve, distance, division Attracive point above the geometry

Attracive point under the geometry

offset: 1.2 factor: 2

offset: 1.2 factor: 3, 1

05 OFFSET & LOFT By o ffsetting the part of t he g rid patterns, and loft them to create a new geometry on top of the existed one. Parameters: Offset & loft

06 PROJECTION & EXTRUDE By projecting the grid patterns on a lofted curve, to determine t he possible geometry outcomes with varies altitude of the patterns in two sides. Parameters: Projection & extrude

B. CRITERIA DESIGN

factor: - 0.5

factors: 3, -0.5

-0.10, -0.14, 0.10, 0.7

-0.5, -0.7, 0.5, 0.7

factors: 3, -3

factors: 6, -6

Attracive points both above & under the geometry

Attracive points both above & under the geometry in far distance

offset: 1.2 factor: 1, 3

factors: 3, -5

offset: 1.2 factor: 4, 3

offset: 1.2 factors: 2, -0.5

factors: 15 -20

Attracive points above: far under: close distance

offset: 1.2 factor: 20, -30

offset: 1.2 factors: 2, -0.5

48 SUCCESSFUL SPECIES In order to explore the possibility and potential of the existed script, the variations and additions to the script are necessary. This specifically benefits for practicing the think logic in grasshopper. Like what we did in our composition design, we have to consider what should be alter to attain the desired direction of design. Similarly, this practices also allow us to start experience the design exploration in parametric world. Interesting and unanticipated outcome can be generated based on the the existing script of the case study. Moreover, by considering the criteria that planned to attained during the generation, desired the outcomes are generated step by step. As a result, 4 of the highlighted outcomes were based on my previous selection criteria, which is aesthetics, flexibility, constructability and spatial potential.

Aesthetics Flexibility Constr uc t ability Spatial Potential

Figure. 32 ‘Selected iteration: Attractive Point’.

Aesthetics Flexibility Constr uc t ability Spatial Potential Figure. 33 ‘Selected iteration: Offset & Loft’.

B. CRITERIA DESIGN

Aesthetics Flexibility Constr uc t ability Spatial Potential

Figure. 34 ‘Selected iteration: Projection & Extrude 1.0’.

Aesthetics Flexibility Constr uc t ability Spatial Potential Figure. 35 ‘Selected iteration: Projection & Extrude 2.0’.

4 HIGHLIGHT OUTCOMES

Possible architecture application

1. Attractive Points This iteration has inspired me the foundation development of getting away from the existed form. This geometry has a stronger spatial possibility as it starts turning the 2-dimensional patterns to a 3-dimension geometries. By adding multiple attractive points, the interactive 3 dimensional geometries are generated. It provides flexible outcome as the the form can be easily alter depends on the attractive points.

As our design brief is to create an acoustic pod, I develop this iteration according to some of the criteria I think an acoustic pod should have. Flexibility and constructability are the basics, while aesthetics and spatial potential is the aim of my acoustic pod. Therefore, the above iterations are all related to my imagination of acoustic pod.

2. Offset & Loft This iteration is useful for testing how to construct additional form on top of the grid patterns. To create an acoustic pod, the acoustic performance is highly associated with the form. Therefore, how the form can be construct to become effective in acoustic is important. 3. Projection & Extrude 1.0 This iteration has provided me an experiment in providing spatial opportunities on top of the existed script. By projecting the patterns on a lofted curve, the geometries become more dynamic. Moreover, this iteration also keeps the good constructability that inspired by the second selected iteration. 4. Projection & Extrude 2.0 This iteration gives the most successful outcome that explore its parameters change from 2-dimension patter to another 3-dimension shape. It generated an aesthetics from as well as fulfilling a flexible and construable geometries which can provide spatial potential when its apply to a built work. This ultimate iteration has provided numerous of insights for my future development.

B3. CASE STUDY 2.0 ZA11 Pavilion (2011) Architect: Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan Location: Cluj, Romania Status: Temporary built

BRIEF INTRODUCTION The ZA11 Pavilion is generated by using parametric tools. It aims to produce a pavilion with effective and minimal construction cost and materials 33. The hexagonal patterns are responding to the natural regular pattern. Most interestingly, the pavilion is creating spatial experience according to it form’s generation. This pavilion proved me the possibility of giving spatial quality space by parametric design.

Figure. 36. ‘ZA Pavilion elevation’.

B. CRITERIA DESIGN

51 Matt , ‘ZA11 Pavilion’, Arch20 (revised 2011) http://www.arch2o.com/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/

Image sources: Daniel Bondas, ‘ZA11 Pavilion’, archdaily (revised 2011) http://www.archdaily.com/147948/ za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/110423-facade

REVERSE- ENGINEER ZA11 Pavilion

STEP 1 Create curves

STEP 2 Loft curves

STEP 3 Project Hexagon cells on lofted surface

Building up t he basic s hape o f the ZA11 Pavilion is the done in first step by o ffseting two free-formed curves.

After setting up t he curves in Rhino, curves are lofted together t o form a ring shaped like surface in grasshopper.

To create the hexagonal pattern on ZA11 Pavilion, a h exagon cells are projected on the lofted curves.

The free- formed curves have to produce a n arc shape o n both of the side so that to attain the circluation in the ZA11 Pavilion.

STEP 4 Duplicate and rescale

To reach the dynamic extrusion of the ZA11 Pavilion, a duplicated and scaled down curves are set in t he i nner part of t he existed surfaces.

B. CRITERIA DESIGN

By adjusting the parameter of the u and v d imension, a desired hexagonal pattern is generated.

STEP 5 Loft to connect outer and inner ring

To create the dynamic extruded hexagonal pattern, t he curves on the inner and outer surfaces are lofted correspondingly.

STEP 6 Construct pattern

Right-angled triangle patterns have to defined on each of the surface of the hexagonal extrusion. By reference from a surface on Rhino and list items o n grasshopper. The d iagonal l ine, points are generated, t hus t o produce a right angled triangle pattern. .

STEP 7 Patterning the surface

At the final step, by using the pattern constructed on step 6, we can substrate t he i nner triangle on each s urfaces b y using Surface divided in grasshopper. The reverse engineer of ZA11 Pavilion is completed.

B4. TECHNIQUE: DEVELOPMENT In my technique development, I will continue develop from my developed script of ZA11 Pavilion to generate new forms. By adjusting some parameters on the script, adding and reducing parameters to get away the original form of ZA11 Pavilion. I am particular interested to destroy the ring shape of the pavilion and turn it to a more fluidity shape that are flexible to alter and easy to construct.

SELECTION CRITERIA REFINEMENT In order to make my selection criteria more relevant to the design brief, I decide to refine my selection criteria which are helpful for generate more adaptable designs. Flexibility Does the iteration provide flexible geometric variation? Acoustic performance Does the iteration’s form allow acoustic performance? Activation of space from form Does the iteration offer good architectural qualities of space for habitation and circulation? Ease of assembly and fabrication Does the iteration easy to assemble in an indoor environment supported by pre-fabrication(off-site)?

Image sources: Daniel Bondas, ‘ZA11 Pavilion’, archdaily (revised 2011) http://www.archdaily.com/147948/ za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/110423-facade

B. CRITERIA DESIGN

Figure. 37: ‘ZA11 Pavilion’.

01 SIZE OF HEXAGON By changinf the u and v dimension to explore the possibility of the hexagon cells. Parameter: Heaxgonal Cells

U: 2 V:4

U:5 V:8

Factro: 0.8

Factro: 0.6

02 SCALE By adjusting the scale of both rings a s well as t he triangle pattern on the polysurface, to te Parameter: Scale

03 PATTERN Changing t he patterning on t he polysurface b y using the lunchbox plug-in Parameter: lunchbox plug-in

Diamond Panel (D)

Diamond Panel (T)

Diamond Panel (D)

Diamond Panel (T)

04 LOFT PATTERN Testing the form b y combining the new pattern with the existed lofted form Parameter: Loft

05 FORM Changing the form of the pavilion too examine t he a lternative f orm generation Parameter: Geometry & Curves

B. CRITERIA DESIGN

U: 8 V: 12

Factro: 1.2

U:10 V:17

Factro: 0.8

U:8 V:20

Factro: 0.4

Quads Panel

Quads Panel + Cull Pattern

Triangular Panel

Quads Panel

Quads Panel + Cull Pattern

Triangular Panel

06 ATTRACTIVE POINT Adding a attrative point to create varies extrusion from trinagle patterns listed from the original geometry Parameter: extude, divide distance

extude factor: 3

division factor: 8

07 GRAPH MAPPER Changing t h graph mapper t o create different f ree form curves with the hexagon cells Parameter: Graph Mapper

08 GRAPH MAPPER & ATTRACTIVE POINT Adding a attrative point to create varies extrusion from trinagle patterns listed from the original geometry on top of a free form with hexagon cells Parameter: distance

extrude, d

ivide

factor: 0

factor: 7

09 PATTERNING Linking different pattterns on the free form Parameter: Lunchbox plug-in

Quads Panel

Diamond Panel (D)

10 TRIANGULAR PANELING Changing t he u v dimension of triangular b paneling Parameter: Countour

B. CRITERIA DESIGN

u:10 v:20

u:8 u:8 v:15 v:15

division factor: 5

factor: factor: 55

Triangular A

u: 4 v:17u

division factor: 3

factor: 0.75

Triangular B

: 5 v:9

division factor: 0.75

factor: -3

Triangular C

u:2 v:7

FLEXIBILITY ACOUSTIC PERFORMANCE ACTIVATION OF SPACE FROM FORM EASE OF ASSEMBLY AND FABRICATION Figure. 38 ‘Selected iteration 01’.

FLEXIBILITY ACOUSTIC PERFORMANCE ACTIVATION OF SPACE FROM FORM EASE OF ASSEMBLY AND FABRICATION

Figure. 39 ‘Selected iteration 02’.

FLEXIBILITY ACOUSTIC PERFORMANCE ACTIVATION OF SPACE FROM FORM EASE OF ASSEMBLY AND FABRICATION Figure. 40 ‘Selected iteration 03’.

B. CRITERIA DESIGN

3 HIGHLIGHT OUTCOMES 01 This iteration is one of my favourite when I start getting away from the ring shape of the pavilion. I think the free form controlled by graph mapper has high spatial potential for my design, also it allows flexible geometric generation. 02 This iteration is combining the free form generated by graph mapper with hexagonal cells and triangular pattern from the ZA11 Pavilion. The form is unexpectedly interesting. It provide certain acoustic performance on its surface. 03 This iteration is completely indistinguishable from the ZA11 pavilion as the scrip its simplified and the hexagon cells are replaced by triangular panel. The flexibility of form and folding surface provide good acoustic performance. Also, it has high potential in develop it spatial quality according to the free form. The triangular panel allows easier fabrication and assemble techniques.

B5. TECHNIQUE: PROTOTYPING OUR TEAM

JKS DESIGN.

Figure. 41 â&#x20AC;&#x2DC;JKS design team, Kelly, Jade and Shaunâ&#x20AC;&#x2122;.

Start from the technical development in part B, we are grouped in 3 to do our coming stage of design work. Jade Tan and Shaun Lee are my group mates. Before we start generate our prototypes, we did analysis for our precedents and further research on material and acoustic performance. This helps to consolidate our vision before we start doing the technical development on grasshopper and building our prototypes.

PRECEDENT RESEARCH

ZA11 PAVILION & ICD/ITKE RESEARCH PAVILION 2011 Research Precedents Research Before we start generate our prototypes, we analysis our precedents by comparing the ZA11 Pavilion and the ICD/ ITKE Research Pavilion 2011. These two pavilions had two similarities in terms of form and material. Both of them were constructed by hexagonal cells according to the biomimicry approach. Moreover, they used plywood as the envelop and structure of the pavilion, which the structure is the form itself. Although they were using different joint method to combine the structure, they both aimed to minimal the joint connection. These two pavilion gave us the foundation insight of our design. We appreciated the concept of structure as the ultimate form as well as the strong materiality of plywood.

B. CRITERIA DESIGN

Figure. 42 ‘ZA11 Pavilion’.

Figure. 43 ‘ICD/ITKE Research Pavilion 2011’. Image sources: Cat Distasio, ‘ICD/ITKE Research Pavilion 2011’, inhabitat (revised 2011) http://inhabitat.com/ amazing-bionic-research-pavilion-explores-the-sand-dollars-skeleton-morphology/icditke-research-pavilion-2011-9/ Patrick Bedarf, ‘ZA11 Pavilion’, inhabitat (revised 2011) http://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/07-img_5348-patrick-bedarf

64 PRECEDENT ANALYSIS

ZA11 PAVILION

STEP 1 Create curves

STEP 4 Duplicate and rescale

STEP 3 Project Hexagon cells on lofted surface

STEP 2 Loft curves

STEP 5 Loft to connect outer and inner ring

STEP 6 Construct pattern

STEP 7 Patterning the surface

REVERSE ENGINEER Figure. 44 ‘ZA11 Pavilion Reverse Egineer

ENRICHING SPATIAL EXPERIENCE

HEXAGON CELLS

Figure. 45 ‘ZA11 Pavilion’s spatial

Figure. 46 ‘ZA 11 Pavilion’s modularity’.

organisaion ’.

B. CRITERIA DESIGN

Finger Joint

FINGER JOINT WAFFLE

Waffle Joint

Figure. 47 ‘ZA11 Pavilion’s joint COMPUTATIONALLY CALIBRATED JOINTS method ’.

65 PRECEDENT ANALYSIS

ICD/ITKE RESEARCH PAVILION 2011

STEP 1 Create three arcs to form the boundary of the entire pavilion: two for the base plane and one for the height

STEP 3 From the points along each arc, construct more arcs using the 3pt arc component

STEP 2 Rotate one of the arcs along to the opposite side and divide each arc into points

STEP 4 Loft these arcs together and apply the hexagonal panel from the lunchbox plug-in

STEP 5 Find the surface normal of each cell using the surface closest point and evaluate surface

STEP 6 Scale each hexagonal cell relative to its centre point and translate it outwards along its face normal

STEP 7 Merge each corresponding translated cell with its parent cell and loft them

REVERSE ENGINEER Figure. 48 ‘ICD/ITKE Research Pavilion 2011 Reverse Egineer (by Shaun Lee)

ENRICHING SPATIAL EXPERIENCE

HEXAGON CELLS

FINGER JOINT

Figure. 49 ‘ICD/ITKE Research Pavilion 2011 spatial organisaion ’.

Figure. 50 ‘ICD/ITKE Research Pavilion 2011 modularity’.

Figure. 51 ‘ICD/ITKE Research Pavilion 2011’s joint method ’.

66 MATERIALS RESEARCH

Figure. 52 ‘Plywood pattern’.

Figure. 53 ‘Aluminium Mesh’.

1.Plywood Plywood is an strong semi-natural materials as structure of the acoustic pod. It has high stability, high impact resistance and high strength to weight ratio. It is a preferred material as it is strong and easy to assemble, so flexible outcome can be generated. 2.Aluminium Mesh Aluminium Mesh is another option of materials that to build the structure of the acoustic pod. It is flexible in shape and are strong to retain the shape rigidly. Compare to plywood, it is lighter in weight. However, it is not a natural material, so the recycled aluminium mesh is preferred to reduce the environmental impacts. 3.Felt Felt is a distinct material we are most interested with good acoustic performance. It is flexible and light materials. It gives great possibilities as the second skin of our acoustic pod to perform its acoustic quality.

Image sources: ‘Pine Plywood, Plywood World (revised 2015) http://plywoodworld.com/pine-plywood ‘Aluminum mesh, 4D Model Making Materials (revised 2017) http://modelshop.co.uk/Shop/Raw-Materials/Mesh/Aluminium/ ‘Felt’, Architonic (revised 2017) https://www.architonic.com/en/product/agena-felt-wallpaper/1202416

B. CRITERIA DESIGN

Figure. 54 ‘Felt’.

67 PRECEDENTS FOR ACOUSTIC PERFOMANCE

Elbphilharmonie (2017) Herzog and de Meuron/ Hamburg

XSSS (2004) Hodgetts + Fung/ Los Angeles, USA

Figure. 55 ‘Elbphilharmonie acoustic ceiling’.

Figure. 56: ‘XSSS installation’.

Clouds Divina (2012) Studio Bouroullec Kvadrat/ Denmark

Figure. 57: ‘Clouds Divina Product’.

Image sources: ‘Hamburg’s Elbphilharmonie: Birthing Acoustic Joy From Digital Algorithms’, NEXT (revised 2017) https://nextconf.eu/2017/01/hamburgs-elbphilharmonie-birthing-acoustic-joy-from-digital-algorithms/ ‘XSSS (Experimental Sound Shielding System)’, hplusf (revised 2017) https://hplusf.com/projects Kvadrat, ‘Clouds Divina 24 pieces’, Architonic (revised 2015) https://www.architonic.com/en/product/kvadrat-clouds-divina-24-pieces-106191/1260800

Acoustic Performance Research

By looking at the function of acoustic panels in reality, we start to study the theory of acoustic performance in physics. To attain a good acoustic performance, the following sound management helps. 1. Absorption & Transmission 2. Reflection 3. Diffusion

Figure. 58 ‘Absorption & Transmission diagram’.

Figure. 59 ‘Reflection diagram’.

Therefore, to maximize the acoustic performance of our acoustic pod, the prototypes should be generating according to the ability of acoustic performance. Apart from studying the physics part, we also researched some of the successful examples of acoustic wall or panel which giving us further insight of how to achieve the acoustic performance. Sound and form are intimately related 34. The following precedent showing us the diverse possibility of forms to reach acoustic performance.

Meyers Victoria, Shape Of Sound (London: Artifice books on architecture, 2014), pg. 12.

B. CRITERIA DESIGN

Figure. 60 ‘Diffusion diagram’.

69 SELECTED MATRIX FOR DEVELOPING PROTOTYPES

Figure. 61 ‘Selcted matrix for ZA11 Pavilion and ICD/ITKE Research Pacilion 2011’. (by Jade Tan, Shaun Lee and Kelly Choi)

70 PROTOTYPE 1 The first prototype is a material study based prototype. It focused on studying the way of combining structure materials with the acoustics materials. Although the outcome was not completely generated parametrically. We try to test the materials performance and possibility of generating form in this prototype. This prototype has given us idea of how the aluminum mesh and wires can be combined with the felt materials to form an rigid and dynamic form. Further, we are going to generate the form on parametrically in the later stage of design to explore more opportunities from this prototype.

Figure. 62 â&#x20AC;&#x2DC;Prototype 1 diagramâ&#x20AC;&#x2122;.

Model materials: Aluminium mesh, wire and felt Materials intend to use: Aluminium mesh, wire and felt Consideration 1. Acoustic performance 2. Structure/rigidty 3. Fabricatibility 4. Modularbility

B. CRITERIA DESIGN

Figure. 63 ‘Prototype 1’.

72 PROTOTYPE 2 This prototype is another study of structure and acoustic skin’s modelling. This prototype study the combination of plywood and felts to form a flexible envelope. As we know that felt is not a material that can be self supported as the frame of the structure. Its need further support fro other strong materials.

The second skin is also a study of how to create an envelop to achieve deflection, diffusion in sound by folding techniques. The connection of waffle is easy to be assemble, however, we are still figuring out how to connect the second skin with the frame so to produce a comprehensive acoustic pod.

The waffle frame is inspired by one of the successful outcomes from the technique development in ZA11 Pavilion, it is linked with the graph mapper in grasshopper to produce flexible and dynamic outcomes.

Model materials: Boxboard Materials intend to use: Plywood & Felt Consideration Spatial opportunities 1. Wrap around meeting places 2. External seatings Acoustic performance 1. Minimse reflection of sound 2. Maximise diffusion of sound Ease of assembling 1. Fabricatibility 2. Modularbility

B. CRITERIA DESIGN

Figure. 64 ‘Prototype 2’s diagram’.

Figure. 65 ‘Prototype 2’s frame’.

Figure. 66 ‘Prototype 2’s second skin’.

74 PROTOTYPE 3 The 3rd prototype’s form is inspired by the technical development we did on both ZA11 Pavilion and ICD/ITKE Research Pavilion 2011. The prototype emphasised on the folding envelope similar to our precedents, as we found that it has a good acoustic performance in terms of controlling sound transmission. It gives good insight for us to combine the form as one of the acoustic functions. The form does not only able to diffuse and reflect sound, moreover, it also allows decrease of sound form the tunnel coned shape. A dynamic form can be generated by duplicating the form on a panel.

Model materials: Polypropylene Materials intend to use: Plywood Considertion Spatial opportunities 1. Fold around meeting spaces Acoustic performance 1. Minimse reflection of sound 2. Maximise diffusion of sound 3. Felt reduce sound transmission 4. Plywood panel configuration = structural 5. Perforated holes help sound absoption Ease of assembling 1. Fabricatibility 2. Modularbility

B. CRITERIA DESIGN

Figure. 67 ‘Prototype 3 diagram’.

75 Figure. 68 ‘Prototype 3’.

76 MAKING PROCESS: TIME LAPSE VIDEO

Figure. 69 ‘Screen captures from time lapse video’.

B. CRITERIA DESIGN

B6. TECHNIQUE: PROPOSAL

“

Brief Design an acoustic pod for a design office. Our Vision Our design aims to shape the spatial experience of the office environments by defining space for both private and public meeting.

” Figure. 70 ‘Prototype 2 with human scale’.

Conceptual Achievement To step forward form what the conventional acoustic pod perform, our group would like to design an acoustic pod which could on one hand provide acoustic performance for an office environment, meanwhile, it also shaping a better office environment for both private and public meeting. The acoustic pod itself is a spatial device for users to habitat on. We purpose to break through the traditional meeting method where space is confined in one area without any interaction with outside. For a meeting in a design firm, more interactive conversation is expected.

Figure. 71 ‘Prototype 3 with human scale’.

B. CRITERIA DESIGN

Technical Refinement The major technical concern of our project will be the connection of joining the structure and acoustic materials together. As we have experienced some difficulties during the production of prototypes. Therefore, more research and testing on joints are needed for our final project. Perhaps, we can focus on specific prototype and develop a deeper understand on its construction techniques and detailing. So, its time to narrow down our direction and focus on the technical development.

B7. LEARNING OBJECTIVES AND OUTCOMES Studio Air is a learning process of understanding computation design through theories of computation to generating forms by an effective workflow. In part B, I have focused on developing my own skills of generating algorithm based on case studies related to Biomimicry. Further, I start generate my own script to response my design brief, to create an acoustic pod for an office environment. During the process of technique development, our group have studies the material performance and acoustic performance according to the brief. Therefore, we have consolidated our own vision about the acoustic pod. We tried to build up three prototypes by consider the interrelationship between materials, acoustic performance and form generation. However, we faced some issues in fabrication process. We tested the laser cutting in different materials, but not every one of them can be assemble as we expected. We learnt a lesson from testing models through fabrication. The good thing about computation design is that we can easily change the parameter to manipulate the alter of our design. Since we are still on our early stage of computation design, it is reasonable to experience trial and error in our practice. In the next stage, our team will shift our focus from research based to form generation based in computation design. We have developed basic skills in grasshopper and some of the plugin like lunch box, kangaroo, more exploration on the parametrically will likely to generate a design which is closer to our desired concept.

B8. APPENDIX - ALGORITHMIC SKETCHES

Figure. 72 ‘Field’.

Figure. 73 ‘Curve’.

B. CRITERIA DESIGN

Figure. 73 ‘In-class building study’.

Figure. 74 ‘In-class parametric study’.

BIBLIOGRAPHY (PART B) TEXTS 1. Benyus, J. M, Biomimicry: Innovation inspired by nature (New York: Harper Perennial, 2002) 2. Blok, Vincent & Gremmen, Bart, ‘Ecological Innovation: Biomimicry as a New Way of Thinking and Acting Ecologically’, Journal Of Agricultural & Environmental Ethics, 29th ser., 2 (2016) 203-217 3. Eden project officials, ‘Architecture at Eden’, Eden project officials (revised 2015) http://www.edenproject.com/eden-story/ behind-the-scenes/architecture-at-eden 4. Fisch, Michael, ‘The Nature of Biomimicry’, Science Technology & Human Values, 42th ser., 5 (2017) 795-821 5. Glynn, Simon, ‘Spanish Pavilion’ , Galinsky (revised 2005) http://www.galinsky.com/buildings/spainaichi/ 6. Harris, Tom, ‘How the Eden Project Works’, HowStuffWorks.com (revised 2011) http://science.howstuffworks.com/environmental/conservation/conservationists/eden1.htm 7. ICD University of Struttgart, ‘FAZ Pavilion Frankfurt’, achimmenges.net http://www.achimmenges.net/?p=4967 8. Matt , ‘ZA11 Pavilion’, Arch20 (revised 2011) http://www.arch2o.com/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/ 9. Pawlyn, Michael, Using nature’s genius in architecture (TEDSalon: London,2010) in TED conference https://www.ted.com/talks/michael_pawlyn_using_nature_s_genius_in_architecture [accessed August 2017] 10. Salma, El Ahmar, Fioravanti, Antonio & Hanafi, Mohamed, A methodology for computational architectural design based on biological principles : Computation and Performance (eCAADe 2013: 31st International Conference on Education and research in Computer Aided Architectural Design, 2013) 11. Schrofer, Thomas, Ecological urban architecture : qualitative approaches to sustainability (Basel : Birkhauser Architecture, 2012) 12. Victoria, Meyers, Shape Of Sound (London: Artifice books on architecture, 2014) 13. Zari, M. Pedersen & J. B. Storey, ‘An ecosystem based biomimetic theory for a regenerative built environment’, In Sustainable Building Conference, 7(2007) Woodbury, Robert, ‘How Designers Use Parameters: Theories of the Digital in Architecture’ (New York: Routledge, 2014)

B. CRITERIA DESIGN

IMAGES 1. ‘Aluminum mesh’, 4D Model Making Materials (revised 2017) http://modelshop.co.uk/Shop/Raw-Materials/Mesh/Aluminium/ 2. Cat Distasio, ‘ICD/ITKE Research Pavilion 2011’, inhabitat (revised 2011) http://inhabitat.com/amazing-bionic-research-pavilion-explores-the-sand-dollars-skeleton-morphology/icditke-research-pavilion-2011-9/ 3. Daniel Bondas, ‘ZA11 Pavilion’, archdaily (revised 2011) http://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/110423-facade 4. Dimitrie Stefanescu, Patrick Bedarf & Bogdan Hambasan, ‘ZA11 Pavilion’, archdaily (revised 2011) http://www.archdaily. com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/img_5111 5. ‘FAZ Pavilion Frankfurt’, achimmenges.net (revised 2010) http://www.achimmenges.net/?p=4967 6. ‘Façade Covering, Spanish Expo Pavilion’, Stylepark (revised 2005) https://www.stylepark.com/en/ceramica-cumella/facade-covering-spanish-expo-pavilion-aichi-japan 7. ‘Felt’, Architonic (revised 2017) https://www.architonic.com/en/product/agena-felt-wallpaper/1202416 8. ‘Hamburg’s Elbphilharmonie: Birthing Acoustic Joy From Digital Algorithms’, NEXT (revised 2017) https://nextconf.eu/2017/01/hamburgs-elbphilharmonie-birthing-acoustic-joy-from-digital-algorithms/ 9. Hufton Crow, ‘Rainforest biomimicy eden project, Eden project officials (revised 2015) http://www.edenproject.com/ 10. ICD Institute, ‘Versuchsaufbau Verformung’, DBZ (revised 2011) http://www.dbz.de/artikel/dbz_Klima-Reaktor_FAZ_ Sommer-Pavillon_Frankfurt_a._M._1296563.html 11. ICD Institute, ‘Oberflächenvarianzen’, DBZ (revised 2011) http://www.dbz.de/artikel/dbz_Klima-Reaktor_FAZ_Sommer-Pavillon_Frankfurt_a._M._1296563.html 12. ICD Institute, ‘Öffnungszustand bei schlechtem Wetter’, DBZ (revised 2011) http://www.dbz.de/artikel/dbz_Klima-Reaktor_FAZ_Sommer-Pavillon_Frankfurt_a._M._1296563.html 13. Kvadrat, ‘Clouds Divina 24 pieces’, Architonic (revised 2015) https://www.architonic.com/en/product/kvadrat-clouds-divina-24-pieces-106191/1260800 14. Marianoarq, ‘LA VERSÁTIL ARQUITECTURA MODULAR’, BREATHING ARCHITECTURE (revised 2013) https:// breathingarchitecture.wordpress.com/2013/04/07/la-versatil-arquitectura-modular/planos2/ 15. Patrick Bedarf, ‘ZA11 Pavilion’, inhabitat (revised 2011) http://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/07-img_5348-patrick-bedarf 16. ‘Pine Plywood’, Plywood World (revised 2015) http://plywoodworld.com/pine-plywood 17. ‘Spanish Pavilion Expo 2005’, architecture library (revised 2013) http://architecture-library.blogspot.com.au/2013/12/ spanish-pavilion-expo-2005-haiki-aichi.html 18. Tamsym William, ‘Hero Eden’, Eden project officials (revised 2015) http://www.edenproject.com/ 19. ‘XSSS (Experimental Sound Shielding System)’, hplusf (revised 2017) https://hplusf.com/projects 20. WF3, ‘Oranges for Spain’, flickriver (revised 2005) http://www.flickriver.com/photos/87789260@N00/35035145/

C. DETAILED DESIGN

C1. DESIGN CONCEPT CONCEPT

COCOON

“

Cocoon, a case produced in the larval stage of certain animals for the resting pupal stagein the life cycle. 35

”

Our group find the concept of cocoon is similar to what we expect to perform in our acoustic pod, a protective and comfortable shelter for people to meet and discuss. Therefore, our form generation will base on the form of cocoon.

Figure. 75 ‘Cocoon’.

Encyclopaedia Britannica, ‘Cocoon: Biology meaning’, (revised 2017) https://www.britannica.com/science/cocoon-biology

Image source: Tony Hakim, ‘Cocoon’, Tony Hakim Blog (revised 2017) https://tonyhakim.com.au/happens-inside-cocoon/

C. DETAILED DESIGN

INTERIM REFLECTION

After trying different testing on prototype in Part B. Our group decided to focusing on the further development of Part B prototype 1 (also called Part C prototype 0) towards our final product as it provide more potential in terms of from. We are interested on the folding form of prototype 1. However, the form of the prototype is handmade. Therefore, we have to reverse engineer the prototype form in grasshopper like what we have did for our precedent study in Part B. To refine our design, we carry out a new criteria list for examining the quality of our design. We will keep reflecting our design according to the criteria we set. The criteria are as follow.

SELECTION CRITERIA REFINEMENT -

Performance Assessment Visual Finesse Tactile Quality Digital Precision Structural Stability Connection Detail Irregularity Scale Efficiency Fabricability Transportability Formal and Functional Balance

Figure. 76 â&#x20AC;&#x2DC;Prototype 0â&#x20AC;&#x2122;.

88 PROTOTYPE ANALYSIS

PROTOTYPE 0

The irregularity and the transportability of prototype 0 is the best properties we would like to keep in the future design. Before we start another new prototype, there is a need to consider a better material options for easier fabrication. Since the current one is not designed parametrically, we also have to put effort on transform it into digital design.

Figure. 77 ‘Prototype 0’.

0 Model materials: Aluminium mesh, wire and felt Materials intend to use: Aluminium mesh, wire and felt Consideration 1. Acoustic performance 2. Structure/rigidty 3. Fabricatibility 4. Modularbility

PERFORMANCE ASSESSMENT VISUAL FINESSE TACTILE QUALITY DIGITAL PRECISION STRICTURAL STABILITY CONNECTION DETAIL IRREGULARITY SCALE EFFICIENCY FABRICABILITY TRANSPORTABILITY FORMAL AND FUNCTIONAL BALANCE

C. DETAILED DESIGN

89 MATERIAL TRANSITION

After Part B, we consolidate to develop further for our prototype 0. We reflected on the material properties we used, which steel mesh and wire are the primary structures. At last we decide to change the materiality focus from steel mesh to plywood. The main reason we didn’t like about steel mesh is its lack of stiffness and self-weight ability. Although it is very flexible, it requires extra support to keep it stable. In contrast, the material we wanted to test, plywood, is a better material that can satisfy our criteria. The following is the criteria of our material selection :

LIGHT WEIGHT VERSATILITY EASE OF WORK Figure. 78 ‘Steel Mesh’.

STEEL MESH

AESTHETIC COST LUAN PLYWOOD

LIGHT WEIGHT

VERSATILITY

EASE OF WORK

AESTHETIC

COST

LIGHT WEIGHT

VERSATILITY

EASE OF WORK

AESTHETIC

Image sources:

COST ‘Aluminum mesh, 4D Model Making Materials (revised 2017) http://modelshop.co.uk/Shop/Raw-Materials/Mesh/Aluminium/ ‘Lumber core plywood’,Alibaba.com (revised 2017) https://www.alibaba.com/showroom/lumber-core-plywood.html LIGHT WEIGHT

VERSATILITY EASE OF WORK

COST

Figure. 79 ‘Luan Plywood’.

90 PROTOTYPE FABRICATION

PROTOTYPE 1

As we changed our material focus on plywood, a stronger and rigid materials, we start to study the finger joints method to meet the desired form. This kind of joint method had been used in one of our Part B Precedent, ICD/IDKE Research Pavilion 2011, we found that it is a strong and rigid joint that can create form without additional attachment as they are simply interlocking with each other.

Figure. 80 ‘ICD/ITKE Research Pavilion Finger Joint’.

Fabrication File Laser Cut

EQUILATERAL TRIANGLE

Figure. 81 ‘Prototype 1 Laser Cut File ’.

Image sources: Cat Distasio, ‘ICD/ITKE Research Pavilion 2011’, inhabitat (revised 2011) http://inhabitat.com/ amazing-bionic-research-pavilion-explores-the-sand-dollars-skeleton-morphology/icditke-research-pavilion-2011-9/

C. DETAILED DESIGN

ISOSCELES TRIANGLE

91 Figure. 82 ‘Prototype 1’

Figure. 83 ‘Prototype 1 with felt’

C. DETAILED DESIGN

93 PROTOTYPE ANALYSIS

PROTOTYPE 1

Figure. 84 ‘Prototype 1’.

The prototype shows that plywood can create our desired panel form. However, since there only 1 ‘teeth’ in each side of the triangle, each panel cannot meet each other completely, Gaps make the entire form unstable.

1 PERFORMANCE ASSESSMENT VISUAL FINESSE TACTILE QUALITY DIGITAL PRECISION STRICTURAL STABILITY CONNECTION DETAIL IRREGULARITY SCALE EFFICIENCY FABRICABILITY TRANSPORTABILITY FORMAL AND FUNCTIONAL BALANCE

94 PROTOTYPE FABRICATION

PROTOTYPE 2

To improve the stability and rigidity of the form, more ‘teeth’ of the joint should be add. After adding more teeth on each sides, each panel can join together easier. The overall form is more stable and the finishing of the exterior improved. Also, through this prototype, we also want to test what is the difference with solid panel and framed panel when we covered with felt.

Fabrication File Laser Cut

EQUILATERAL TRIANGLE

Figure. 85 ‘Prototype 2 laser cut file ’.

C. DETAILED DESIGN

ISOSCELES TRIANGLE

95 Figure. 86 ‘Prototype 2’

96 PROTOTYPE ANALYSIS

PROTOTYPE 2

Figure. 84 ‘Prototype 1’.

2 PERFORMANCE ASSESSMENT VISUAL FINESSE TACTILE QUALITY DIGITAL PRECISION STRICTURAL STABILITY CONNECTION DETAIL IRREGULARITY SCALE EFFICIENCY FABRICABILITY TRANSPORTABILITY FORMAL AND FUNCTIONAL BALANCE

C. DETAILED DESIGN

The teeth on the exterior formed by the finger joints is an unexpected outcome which we find it create interesting exterior surface. This showed the materiality of plywood and create a contrast with felt, the soft materials that we are going to use for attain acoustic performance.

Figure. 85 â&#x20AC;&#x2DC;Prototype 1 Interlocking jointâ&#x20AC;&#x2122;.

98 SITE ANALYSIS

After the interim presentation, we received the site information. It is an architecture and interior design based office. According to our brief, we are going to design a acoustic pod for meeting in this office. Therefore, it is important to study the existing private and public working space, so to understand the circulation, sound impact on the site.

SITE

Individual working area

Limited space

Shared working area

BRIEF Time + Cost Sound proofing

MEETING AREA

Figure. 86 â&#x20AC;&#x2DC;Site Planâ&#x20AC;&#x2122;.

Working Space From the site plan, the individual and shared working space are right next to each other. There is no wall isolating group working space and individual working space, which is typical for a design office. The proposed meeting space will be in the centre of the office, just facing the sample table. Site Limitation As the meeting area is very small. Only limited space is available for the the design product. The acoustic pod is ideally close to the wall and so to avoid blocking the circulation in the office. Also as the site is away from windows, limited light can access the acoustic pod. Therefore, interior lighting is one of the design concern for the design product.

C. DETAILED DESIGN

99 Figure. 87 ‘Site photo’.

100 DESIGN GOAL

Unlike the existing acoustic pod that is enclosed, which create visual and sound privacy to the users. Our group would like to create a semi open meeting space for the site. As it is a design office, meeting does not need full privacy and the office is like a co-working space. So the meeting area does can be a semi open so to allow interaction with other colleagues meanwhile giving sense of privacy to the users. The design will still provide sound proofing similar to the traditional acoustic pod.

TRADITIONAL ACOUSTIC POD

OUR DESIGN GOAL

Enclosed

Semi open meeting space

Visual and Sound Privacy

Allow Privacy

Individual focused work and spaces

Without losing interaction with other colleagues Sound proofing

MEETING AREA

Figure. 88 ‘Site Analsis’.

C. DETAILED DESIGN

101 Parametric Workflow

Change base geometry using different curvees and arcs

Arcs

Loft

Hex Cells

Evaluate Surface

The length of the normals define the height of the modules and dimensionality

Normal & Points

Figure. 89 ‘ Sketches of the form’

Move Point

New Lines

Bound Srf

The distance between the new points is the angle that each module ‘open’ or ‘closes’ The above parametric workflow is a process of our form generation. We tested a lot of version of forms and narrow down to specific one form for building up the algorithm script.

Figure. 90 ‘ Workflow diagrma’

102 COCOON NARRATIVE Figure. 91 ‘ Collage showing design idea’

C. DETAILED DESIGN

103

104

C2. TECHTONIC ELEMENTS & PROTOTYPES FURTHER DEVELOPMENT Felt

Suspension System

We planned to putting felt on both side of the plywood so to attain better acoustic performance. Yet, after the second prototypes we tested on C1, the interesting exterior appearance formed by the plywood finger joints giving an unexpected aesthetics appearance to our design. We think we should keep the plywood expose on the exterior so to create a unique and exterior surface. Therefore, Felt will only placed on the interior of each of the plywood panel for absorbing sound from the meeting area.

To create a more cocoon like structure, we think suspending the acoustic pod is a effective way to illustrate our concept and will provide higher potential for generating an interesting form.

Design Concept Refinement Cocoon as idea crystallization, a place for idea forming. People in this meeting space collide ideas and generate better design outcome.

Figure. 92 â&#x20AC;&#x2DC;Butterfly emerging from cocoonâ&#x20AC;&#x2122;

C. DETAILED DESIGN

105

Figure. 93 ‘ 3D printed joint’

1st trial Central finger joint

2nd trial Increase fingers

3nd trial Add perforations + hinge joint

Figure. 94 ‘ Joints method development’

Joints Method Refinement To create a more flexible form, we decided to add a hinge joint for connecting different panel together. We plan to custom make a hinge joint by 3d print.

Image source: Tony Hakim, ‘A Butterfly emerging from a cocoon’, Tony Hakim Blog (revised 2017) https://tonyhakim.com.au/happens-inside-cocoon/

106 Final Parametric Workflow

Arcs

Loft

Hex Cells

Patch

Evaluate Surface

List Item

Normals

Planarize + Deconstruct

Move Point

Valley Fold Lines

List Item

Project Perforations

Figure. 95‘ Parametric workflow in grasshopper’

C. DETAILED DESIGN

New Lines

Bound Srf

Extrude

Brep Intersection

Evaluate Curve Group & Unroll

Extrude

107 Reverse Engineering

STEP 1 Create base arc

STEP 4 Draw diagonal valley fold lines

STEP 6 Move vertices of hexagonal cells along normals, redraw lines Figure. 96 â&#x20AC;&#x2DC; Reverse Engineer in grasshopperâ&#x20AC;&#x2122;

STEP 2 Scale and move arcs

STEP 3 Loft surface in cocoon - like form

STEP 5 Find normals, sort normals that face inwards

STEP 6 Map hexagonal cells (lunchbox) planarize cells

STEP 7 Project Perforation

108 PROTOTYPE FABRICATION & ANALYSIS

PROTOTYPE 3

Fabrication File Laser Cut

Figure. 96 ‘ Prototype 3’

This prototype is a test of adding additional hinge joint on the panel and see if it can produce flexible form. Also, we would like to try exploring perforation on top of the plywood, to achieve better acoustic performance and aesthetic appearance. The prototype is scale to 1:1 of the actual proposed panel size.

Figure. 98 ‘ Prototype 3 laser cut ‘

C. DETAILED DESIGN

109

3 VISUAL FINESSE TACTILE QUALITY IRREGULARITY DIGITAL PRECISION STRICTURAL STABILITY CONNECTION DETAIL SCALE EFFICIENCY FABRICABILITY TRANSPORTABILITY ACOUSTIC CONDITIONING FORMAL AND FUNCTIONAL BALANCE PERFORMANCE ASSESSMENT

Figure. 99 ‘Prototype 3 with felt ‘

110 COCOON NARRATIVE Figure. 100 ‘ Collage showing refined design idea’

C. DETAILED DESIGN

111

112

C3. FINAL DETAIL MODEL DESIGN PROPOSAL STATEMENT

(Co)COUSTICS

“

A design intervention that provides the necessary privacy, acoustic conditioning at comfort needed for a meeting space whilst simultaneously interacting with the site.

”

FINAL JOINT REFINEMENT

CONCEALED HINGE JOINT

1st trial Central finger joint

2nd trial Increase fingers

3nd trial Add perforations + hinge joint

Final Double layer material to erase joints

Figure. 101 ‘ Final Joint Method’

After successfully adding the hinge joint on the prototype. We discover that the PLA joints and plywood panel are not very match in terms of materiality. Therefore, we try to refine the appearance by concealing the hinge joint. So the exterior of the panel can purely expose the plywood finger joint.

C. DETAILED DESIGN

113

PERFORATION REFINEMENT

BEFORE

AFTER

Figure. 102 ‘ Perforation Change’

In prototype 3, we tested the perforation on the plywood panel by adding random circular pattern. However, the perforation did not deliver any specific design narrative. Therefore we try to image sampling a cocoon pattern to create a more cocoon like texture through the perforation and the outcome is interesting.

Figure. 103 ‘ Image Sampling cocoon texture’

114 PLYWOOD SELECTION

After fabricating prototype 3 in a 1:1 panel, we notice that the panel is bit heavy. We then start researching for other alternative plywood that is suit for our project. Moreover, we would like to search for a plywood material which is with a smoother surface and lighter color. That’s why we find Poplar plywood. LIGHT WEIGHT VERSATILITY EASE OF WORK AESTHETIC COST

LIGHT WEIGHT

VERSATILITY

EASE OF WORK

AESTHETIC COST

LUAN

Figure. 104 ‘Luan plywood’

AESTHETIC COST

POPLAR

LIGHT WEIGHT

VERSATILITY

EASE OF WORK

AESTHETIC

COST

LIGHT WEIGHT VERSATILITY EASE OF WORK AESTHETIC COST

“

Poplar plywood offers a panel that is stable and very strong, but with the added benefit of being extremely lightweight.36

Winwood Products ‘Lightweight Poplar Plywood’(revised 2017) http://www.winwood-products.com/eng/timber-products/poplar_plywoods.htm

C. DETAILED DESIGN

Figure. 105 ‘Poplar plywood’

”

115 Selected Matrx

Figure. 106 â&#x20AC;&#x2DC; Selected matrix for final form generation

116 PROTOTYPE FABRICATION

PROTOTYPE 4 (FINAL)

3 2

MOD 0

MOD 1

MOD 5

MOD 10

MOD 11

MOD 15

MOD 70 3

MOD 71

MOD 75

MOD

MOD 76

MOD 80 3

MOD 81 3

MOD 85

MOD 86

MOD 90

MOD 16

C. DETAILED DESIGN

MOD 6

Figure. 107 ‘Unrolled full model panels’

MOD

MOD 91

117

MOD 20

MOD 21

MOD 3

MOD 4

MOD 22

MOD 23

MOD 24

7 6

MOD 25

3 3

MOD 7

MOD 9

MOD 30

MOD 14 3

MOD 35

MOD 46

MOD 47

MOD 50

MOD 51

OD 17

MOD 18

MOD 19

MOD 40

MOD 33

MOD 34

MOD 55

MOD 38

2 1

D 72

MOD 73

MOD 74

MOD 95

MOD 96

MOD 60

MOD 77 3

MOD 78

MOD 79

MOD 100

6 2

1 1

OD 82

MOD 83

MOD 84

MOD 105

MOD 102

MOD 103

MOD 104

MOD 110

MOD 87

MOD 92

MOD 88

MOD 89

MOD 93

MOD 94

MOD 115

MOD 111

MOD 112

MOD 116

MOD 54

4 0

6 7

MOD 57

MOD 61

MOD 58

MOD 59 3

MOD 117

MOD 108

MOD 109

MOD 113 3

MOD 114 3

MOD 118

MOD 62

MOD 63 3

MOD 64 3

MOD 119

MOD 66

MOD 67

MOD 68

MOD 121 3

MOD 125

MOD 106 MOD 107

MOD 120

MOD 99

MOD 101

MOD 56

MOD 65

MOD 98

MOD 44

MOD 53

MOD 43

MOD 97

MOD 49

6 7

MOD 42

MOD 39

3 2

MOD 37

MOD 41

MOD 48

MOD 52

1 4

MOD 36

3 7

MOD 45

MOD 29

MOD 32

MOD 13

MOD 31

0 0

MOD 12

1 1

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MOD 28

2 2

5 0

MOD 27

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4 3

5 4

6 5

MOD 126

MOD 122

MOD 69

MOD 123

6 7

MOD 124

118 PROTOTYPE ANALYSIS

PROTOTYPE 4 (FINAL)

Figure. 108 ‘Prototype 4 interior’

Prototype 4 is the final testing of all our refinement in Part C. It includes a connected finger joint poplar plywood panel with cocoon pattern like perforation and interior felt. 3d printed hinge joint are concealed in the double layered plywood panel to provide semi flexible structure.

C3 D4

D2 B1

Figure. 109 ‘Prototype 4 laser cut’

C. DETAILED DESIGN

A3 A1

D2 B2

B3 B4

119

3 VISUAL FINESSE

VISUAL FINESSE

TACTILE QUALITY

IRREGULARITY

DIGITAL PRECISION

RICTURAL STABILITY

STRICTURAL STABILITY

CONNECTION DETAIL

SCALE EFFICIENCY

FABRICABILITY

TRANSPORTABILITY

STIC CONDITIONING

ACOUSTIC CONDITIONING

NCTIONAL BALANCE

FORMAL AND FUNCTIONAL BALANCE

MANCE ASSESSMENT

PERFORMANCE ASSESSMENT

Figure. 110 ‘Prototype 4 exterior’

120 EXPLODED ISOMETRIC

PROTOTYPE 4 (FINAL)

Figure. 110 ‘Exploded diagram showing the assemble method of prototype 4’

C. DETAILED DESIGN

121

3D PRINT HINGE JOINT

POPLAR PLYWOOD MODULE PANEL

3D PRINT HINGE JOINT

FELT

122 JOINT DETAILS

FINAL JOINT METHODS

FINGER JOINT

6mm x 6mm x 6mm

HIDDEN HINGE JOINT

3d printed hinge joint

Figure. 111 ‘Joints details’

C. DETAILED DESIGN

123

SUSPENSION SYSTEM

CRH Con-lock suspension

SUSPENDED LIGHTING

124 COST ANALYSIS

PROJECTED FABRICATION & ASSEMBLY COST

We looked into budget and fabrication estimation to estimate how much time and cost will our proposed design cost. The cost, weight and fabrication’s break down are as follow.

Material Cost Plywood Felt 3D printed joints (include printing)

$3,465 $672 $135

Fabrication Cost Lasercutting Glue

$3,150 $25

Total

$7,447

PROJECTED COST TOTAL: $7,447

Weight Plywood & Felt 3D printed joints

53.17 kg 7.74 kg

Total

60.91kg

Fabrication Time Lasercutting 3d print Assembly time

63 hrs 189 hrs 220 hrs

Total

472 hrs

Plywood Supplier

Suspension Supplier

C. DETAILED DESIGN

Figure. 112 ‘Projected cost pie chart’

125

Figure. 113 ‘Calculated weight pie chart’

Figure. 114 ‘Estiated Time pie chart’

CALCULATED WEIGHT TOTAL: 61 KG

ESTIMATED TIME TOTAL: 220 HRS

Figure. 115 ‘Final form with perforation’

126 FINAL MODEL

1:1 Prototype

Figure. 116 ‘Prototype 4 exterior finger joints 1:1’

C. DETAILED DESIGN

127

Figure. 117 â&#x20AC;&#x2DC;Prototype 4 interior with felt and concealed joints 1:1â&#x20AC;&#x2122;

128 FINAL MODEL

1:5 Prototype

Figure. 118 ‘Prototype 4 exterior finger joints 1:25’

C. DETAILED DESIGN

129

Figure. 119 ‘Prototype 4 suspeded test 1:25’

130 FINAL MODEL

1:25 3D Printed Model

Figure. 120 ‘3d printed site model 1:25’

C. DETAILED DESIGN

131

Figure. 121 â&#x20AC;&#x2DC; 3d printed site model elevation view 1:25â&#x20AC;&#x2122;

132 MAKING PROCESS: TIME LAPSE VIDEO

Figure. 122 ‘Screen captures from time lapse video’.

133

134

C4. LEARNING OBJECTIVES AND OUTCOMES Objective 1. “Interrogat[ting] a brief” by considering the process of brief formation in the age of optioneering enabled by digital technologies” The brief was to design a acoustic pod for a office. The purpose of the acoustic pod is to create a meeting space for workers. Our project proposal is to produce a suspended cocoon like acoustic pod. Grasshopper enabled us to generate our form parametrically and efficiently by testing the possibility and limitation according to the site.

Objective 2. Developing “an ability to generate a variety of design possibilities for a given situation “by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration; Our group have developed our own parametric script in grasshopper and keep refining the script so to make our design closer to what we imagine. The parametric modeling allowed us to test different models efficiently and brought us to the final desired outcome.

Objective 3. Developing “skills in various three dimensional media’ and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication Since we did many fabrication testing during our design process by using laser cut and 3d print. With helps from the software like Rhino and Makerbot Print, we can digitally control and alter the design thus to ensure a effective fabrication process.

Objective 4. Developing “an understand of relationship between architecture and air” through interrogation of design proposal as physical models in atmosphere; Our design generation is closely associated with the site environment. We studied the limitation of the physical site and also the working environment culture in design firm to create a semi open and suspended acoustic pod.

C. DETAILED DESIGN

135

Objective 5. Developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse. In this project, we have a specific site user, which is a group of architects and designers. We critically develop our design proposal according to the need of an architecture based office environment. Moreover, we try to challenge the conventional acoustic pod and provide a more open and interesting semi enclosed meeting space for the site users.

Objective 6. Develop capabilities for conceptual, technical and design analyses of contemporary architectural projects In part A, I have developed my own conceptual analyses of parametric architectures. Then, in Part B I have learnt to analysis the parametric design through reverse engineer two precedents in my interested field, Biomimicry. And finally in Part C, I try to apply what I learn from the precedents technically and conceptually to generate my own design.

Objective 7. Develop foundational understandings of computational geometry, data structures and types of programming My knowledge of parametric skill is developed through the online tutorial, grasshopper forum and weekly quiz in lecture. The online sources giving me the fundamental understanding of Grasshopper, yet, the in-class exercises and final design project allowed us to learn and explore the techniques in different scenarios. Objective 8. Begin developing a personalized repertoire of computational techniques substantiated by the understanding of their advantages and arears of application. Grasshopper provide me a flexible digital space to test the possibilities of different design outcomes. Through Part B & Part C, our initially constrained by the familiar commands that we have used. And we learnt from the design process is not to afraid of trying new things and try to regenerate the script in alternative way. We should design freely in grasshopper like we are drawing on paper.

‘TALENT IS GOOD, PRACTICE IS BETTER, PASSION IS BEST.’ FRANK LLYOD WRIGHT

136 FURTHER DEVELOPMENT

CATALOGUE

12x

Figure. 123 ‘ JKS design prototype 4 catalogue’

C. DETAILED DESIGN

137

138

C. DETAILED DESIGN

Figure. 125 ‘ Final Prototype’

139

140 FURTHER DEVELOPMENT

RENDERS

Figure. 125 ‘ Render 1’

C. DETAILED DESIGN

141

142

Figure. 126 ‘ Render 2’

C. DETAILED DESIGN

143

144

Figure. 127 ‘ Render 3’

C. DETAILED DESIGN

145

146

Figure. 128 ‘ Render 4’

C. DETAILED DESIGN

147

148

Figure. 129 ‘ Render 5’

C. DETAILED DESIGN

149

150

BIBLIOGRAPHY (PART C) TEXTS 1 Encyclopaedia Britannica, ‘Cocoon: Biology meaning’, (revised 2017)https://www.britannica.com/science/cocoon-biology 2 Winwood Products ‘Lightweight Poplar Plywood’(revised 2017) http://www.winwood-products.com/eng/timber-products/ poplar_plywoods.htm

IMAGES 1 Shouguang good-time industry and trading co. ltd, ‘lumber core plywood’,Alibaba.com (revised 2017) https://www.alibaba.com/showroom/lumber-core-plywood.html 2 Tony Hakim, ‘Cocoon’, Tony Hakim Blog (revised 2017) https://tonyhakim.com.au/happens-inside-cocoon/ 3 Tony Hakim, ‘A Butterfly emerging from a cocoon’, Tony Hakim Blog (revised 2017) https://tonyhakim.com.au/happens-inside-cocoon/

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BENT. FOLD. TWIST. STUDIO AIR 2017.