A I R : JOURNAL

AIR JOURNAL KERYN LIEW

2015 SEMESTER 1 STUDIO 9

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AIR 2015 SEMESTER 1 STUDIO 9 TUTOR : ALESSANDRO LIUTI

K E RY N L I E W 6 1 0 1 4 3

JOURNAL A journal that combines interesting discoveries of precedent projects, digital explorations and critical thoughts of mine.

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INTRODUCTION

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PART A : CONCEPTUALISATION A.1 DESIGN

FUTURING

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A.2 DESIGN COMPUTATION

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A.3 COMPOSITION / GENERATION

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A.4 CONCLUSION

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A.5 LEARNING OUTCOMES

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A.6 APPENDIX

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PART b : critiria design B.1 RESEARCH FIELD

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B.2 CASE STUDY 1.0

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B.3 CASE STUDY 2.0

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B.4 TECHNIQUE : DEVELOPMENT

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B.5 TECHNIQUE : PROTOTYPES

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B.6 TECHNIQUE : PROPOSAL

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B.7 LEARNING OBJECTIVES AND OUTCOMES

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B.8 APPENDIX

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PART C : DETAILED design C.1 DESIGN CONCEPT

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C.2 TECTONIC ELEMENTS & PROTOTYPE

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C.3 FINAL DETAIL MODEL

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C.4 LEARNING OBJECTIVES AND OUTCOMES

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REFERENCES

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KERYN LIEW kkliew@student.unimelb.edu.au http://issuu.com/ker ynliew Currently studying at The University of Melbourne, I am in my third year of my architecture degree. My unremitting devotion to architecture began when I was 9, intrigued by the building environment locally in my hometown, Sabah, Malaysia and around the world. Sketching plans of buildings I picture is the first step into this design world during my childhood. It was a passion of mine to discover the dynamics of organizing geometries and spaces. Due to my avidity in music and culture, I developed an interest in poetic concepts in architecture.

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INTRODUCTION | ABOUT ME

Living in this modernized period, digital design pushes architecture beyond the realm of possibilities; and for that I truly believe digital architecture is part and parcel of the near future world. Visualizing design via digital softwares such as CAD and Adobe Creative Suite have been useful in my past projects. With previous experience of creating a paper lantern in Rhinoceros5.0 as my very first architectural project, I hope to develop potential skills and broaden my thinking of parametric designs through this challenging yet exciting journey in Studio Air.

[IN ORDER FROM LEFT TO RIGHT IN CLOCKWISE ORDER] 1ST YEAR VIRTUAL ENVIRONMENTS PAPER LANTERN | 2ND YEAR SITE TECTONIC RAMP DESIGN 2ND YEAR STUDIO WATER STUDLEY PARK BOATHOUSE INSPIRED BY TOYO ITO & KAZUYO SEJIMA | 2ND YEAR STUDIO EARTH HERRING ISLAND PAVILION FOR SECRETS INTRODUCTION | PAST WORKS

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PART A

conceptualisation 8

a.1 design futuring Architecture as a discourse, steers the interconnection among production, culture and identities.1 For the past decades, architecture is defined through the debates of moralism versus mechanization;2 through its form and style,3 with emphasis on a design for aesthetic appeal. While this may still seemed to be a norm of the definition of design, it is crucial to understand that design should no longer just be delivered as a fixed form.

Design is a continuous process that should represent the identity of what the present and the future world would be.

Yet, we are struggling with the still accelerating defuturing condition of unsustainability.4 The future is doomed with uncertainties. There is thus an urgency for a new culture of architecture. A paradigm shift towards design that use speculation for critical and provocative purposes is highly needed.5

“Futures are not a destination or something to be strived for but a medium to aid imaginative thought-to speculate with.”6 As design to some extent is future oriented, we should also be reminded that its practicality in the present should not be lost in sight.

With the two precedent studies that would be discussed, these facts would be alerted : Designers are the facilitators of such continuous flow that provides a space of discussion for critical consumers. Designers are empowered with the ability to govern the social and cultural quality of human beings. Designers are bound to the responsibility that would determine the sustainability and virtue of human life.

1. Dutton, Thomas A. and Lian Hurst Mann,eds (1996) Reconstructing Architecture: Critical Discourses and Social Practices (Minneapolis: University of Minnesota Press), p.1.

2. William J.R. Curtis. (1996) Modern Architecture Since 1990, Ch.6, “Responses to Mechanization : the Deutscher Werkbund and Futurism” (London: Phaidon) pp.99-111.

3. Leach, Neil, ed., (1997) Rethinking Architecture: A Reader in Cultural Theory (London: Routledge), p,.xiii.

4. Fry, Tony (2008) Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p1.

5. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) p6.

6. Ibid., p3.

CONCEPTUALISATION | A.1 PROLOGUE

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THE EDEN PROJECT : THE BIOMES cornwall, united kingdom grimshaw architects | 2001 CONTRIBUTION TO THE FIELD OF IDEAS

The Biomes comprise the largest greenhouse which collects plants from all around the world. Besides being an educational center that emphasise the interdependence between plants and human beings, several sustainable strategies are employed, ie. wind energy and rainwater catchment system.1 Such contributions to not only provide but also utilise sustainable approaches are thought radically through the design exploration of this project. The idea of rethinking horticultural architecture was set out and thus resulted in one far-reaching reinterpretation of architecture in greenhouses.

Clearly inspired by Buckminster Fuller’s geodesic structure and J.Baldwin’s Pillow Dome structure, this biomimetic project refers to the system rules obtained from nature : soap bubbles, carbon molecules and radiolaria.2 A sequence of eight interlinked geodesic transparent domes encapsulate the various temperate regions with great efficiency. The geodesic structure itself is discovered to be perfect for covering a maximum enclosed volume with minimal surface area.3 As Fry mentioned that design has to be understood anthropologically,4 the Grimshaw team has clearly examined the possibilities of this architecture; built in the lightest and most ecological way possible with the practice of high effectiveness of both space and materials.

1. Inhabitat - Sustainable Design Innovation, Eco Architecture, Green Building, Eden Project: Giant Bubble Biomes Form the World’s Largest Greenhouse The Eden Project <http://inhabitat.com/eden-project-giant-bubble-biomes-are-worlds-largest-greenhouse/eden-project13/?extend=1> [accessed 11 March 2015].

2. Exploration, The Eden Project Biomes <http://www.exploration-architecture.com/projects/the-eden-project-biomes> [accessed 11 March 2015] 3. Rose, Steve, Bubble vision <http://www.theguardian.com/artanddesign/2007/oct/12/architecture2> [accessed 10 March 2015] 4. Fry, Tony (2008) Design Futuring : Sustainability, Ethics and New Practice (Oxford: Berg), p.2.

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CONCEPTUALISATION | A.1 PRECEDENT PROJECT 1

1.1 THE SITE AND SURROUNDING OF THE BIOMES

CONCEPTUALISATION | A.1 PRECEDENT PROJECT 1

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1.2 CONCEPTUAL COMPOSITION ON THE UNEVEN TOPOGRAPHY OF CORNWALL

EXPANDING FUTURE POSSIBILITIES

Importantly, the site of Cornwall was initially a disused quarry,1 This isolated uneven site and the need to create optimum conditions for photosynthesis required critical thinking in choosing materials and layout of the design. Incorporating passive solar design principles, efficient use of solar radiation is implemented through the direct response of benefiting the site. For instance, the north face of pit is used as back wall with a glazed canopy simply capped over that corner of the pit. 2 The diameter of the bubble-like panels could be varied in responding to the different arrangement and suitability of the topography.3 The requirement of ground shaping is therefore, largely minimized. Moreover, the low-weighted cladding panels – triple-layered pillows of high performance ETFE foil allow maximum light transmission and minimum structure.4 “We could have used flat sheets of glass, but that would have been very inefficient, because it would have meant a lot more dead weight and there would have been much more steel needed in the roof to support it.”5 Structure support, material lifespan, maintenance, UV light emission for the needs of plants... the considerations Grimshaw relate from the selection of material for cladding panels itself clearly signifies the definition of design futuring - practicality, sustainability and interdependency. The Biomes, as a working showcase for methods of building with low impact on the environment stem the process of redirecting human towards the futuring character of sustainability.

1. The Brits who built the Modern World : Eden Project <http://www.architecture.com/Explore/Buildings/EdenProject.aspx> [accessed 11 March 2015].

2. Larsen, Olga & Tyas, Andy (2003) Conceptual Structural Design: Bridging the Gap Between Architects and Engineers (London : Thomas Telford) p.109.

3. Grimshaw, The Eden Project : The Biomes <http://grimshaw-architects.com/project/the-eden-project-the-biomes/> [accessed 10 March 2015].

4, E-Architect, The Eden Project, England <http://www.e-architect.co.uk/england/eden-project> [accessed 11 March 2015] 5 Larsen, p.109.

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CONCEPTUALISATION | A.1 PRECEDENT PROJECT 1

1.3 A POPULAR TOURIST SITE : VISITORS LOOKING AT RAIN FOREST REGION IN CAPTIVITY

1.4 INTEGRATION OF CULTURAL EVENTS : OVERVIEW OF THE BIOMES IN THE LIGHTS OF EVENTS

CONTINUOUS APPRECIATION

“I think this is a project we will return to time and again. Not just to see the structure, but to see the growth and change in this botanical kingdom.’” -Nicholas Grimshaw1 Not only numerous awards have been won through this scheme, it is now one of the top three tourist attraction in the UK. Its first three years of opening has contributed £0.5 billion to the economy and received 1.956 million visitors.2 As a very successful built project, The Eden Project as a whole invites humans into the ecosystem. The understanding and planning for climate cycle, site response, usage of natural resources, integration with technologies and local cultures are highly valued. Capturing the public’s imagination, The Biomes is definitely a transformative idea that inspires and impact in so many levels.

“Once you have visited the rainforest it changes you forever, fuelling a desire to care. Not everyone has that opportunity so we decided to grow a rainforest right here in Cornwall, UK. Now, 12 years after we opened, our forest has grown and is reaching for the sky. At last, we have been able to start to build the walkway and, with you all, take to the trees.” -Dr Jo Elworthy, Eden’s Director of Interpretation3

1. Pearman, Hugh (2000) Equilibrium: The Work of Nicholas Grimshaw & Partners (London : Phaidon) p.116.

2. Exploration, The Eden Project Biomes <http://www.exploration-architecture.com/projects/the-eden-project-biomes> [accessed 11 March 2015] 3. E-Architect, The Eden Project, England <http://www.e-architect.co.uk/england/eden-project> [accessed 11 March 2015]

CONCEPTUALISATION | A.1 PRECEDENT PROJECT 1

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EPFL rolex lEarning centre ecublens, switzerland sanaa | 2010 CONTRIBUTION TO THE FIELD OF IDEAS

One of Europeâ&#x20AC;&#x2122;s most ambitious new buildings, Rolex Learning Centre is a learning hub with a strong emphasis on the idea of sustainability in social and cultural interactions of mankind. The target of achieving an intimate public space is set out to the center for collaborative, cross-disciplinary research among peers. Elegantly spread over one single fluid space of 20,000 sq metres, a seamless network of services, libraries, social spaces and outdoor spaces are emerged together as one.1 The extraordinary fluid and flexible open plan thus offers sociability in the community. With innovation as its underlying purpose, SANAA has not forgotten the practicality consideration of its programmes that would be conceived through the form and organization of space.

Responding to the landscape along Lake Geneva, the center mimics the topography of the slopes and terraces. It is a vast undulating open-space that organically welcomes the public from inside courtyards and then ushers them through its undulating form.3 Through the exploration of continuity, SANAA has broken down the traditional boundaries of defined functional zones and stimulate the idea of openness through integrative spaces.

1. E-Architect, Rolex Learning Center Building <http://www.e-architect.co.uk/switzerland/rolex-learning-center> [accessed 11 March 2015] 2. Ibid.

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CONCEPTUALISATION | A.1 PRECEDENT PROJECT 2

2.1 EPFL ROLEX LEARNING CENTRE

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2.2 OVERVIEW OF THE ARCHITECTURE OF ROLEX LEARNING CENTRE

EXPANDING FUTURE POSSIBILITIES

Just by observing the form and structure externally, the engineering I believe is an innovative challenge. A simple rectangular in plan, but appears to be more rhythmic in form, it is a gentle undulation of two parallel slabs (ie. the roof and floor).1 With few visible supports, it is as if the edge-less building is floating on the site as it just touches the ground lightly. Using mass material such as concrete to create the 3-dimensional curved shells, the shapes with least bending stresses are explored via computer simulations. Furthermore, precise execution of the concrete shell was done with positioning using GPS technology on site.2 Such critical design hence benefits the language and structure of design to engage with people.3 The effectiveness of illustrating a “floating” structure using solid concrete is a unique architectural representation and for that, has expanded one architectural frontier. This learning center minimise physical boundaries with establishment of acoustically separated areas created through changes in height and slope.

“We did not make a normal one-room space but incorporated patios and topography to organize the program such that each is separated and connected at the same time. The large one-room space undulates up and down creating an open space under the building so that people can walk to the center of the building.

This enabled us to make one main entrance at the center of the building.” -SANAA.4 1.

2.

3.

4.

Arc Space, Rolex Learning Center <http://www.arcspace.com/features/sanaa/rolex-learning-center/> [accessed 11 March 2015] Designboom, SANAA: Rolex Learning Center <http://www.designboom.com/architecture/sanaa-rolex-learning-center/> [accessed 12 March 2015] Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) p635.

Arc Space.

2.3 THE CENTRAL PATIO THAT GATHERS PEOPLE TO EMERGE INTO THE CURVES OF THE LEARNING CENTER

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CONCEPTUALISATION | A.1 PRECEDENT PROJECT 2

2.4 TRANSPARENT 2.4 TRANSPARENT FACADE GLASS SURROUNDING FACADE THATTHE SURROUNDS CENTRAL ENTRANCE THE CENTRAL ENTRANCE

CONTINUOUS APPRECIATION

“It is a place where mathematicians and engineers meet with neuroscientists and microtechnicians to envision new technologies. We invite the public into this space to convey the message that working in science is working for the advancement of society.” -Patrick Aebischer, President of EPFL.1 From this project, it clearly depicts that parallelism portrayed via the horizontal floor affects the nature of the architectural space much more than the shape of the perimeter of space. People enjoy and appreciate this space as they encounter a veritable landscape that is rather engaging. Looking into the interior architecture, there is also no visual barriers and from this openness, the importance of social interaction is greatly appreciated. An energy-efficient building it is, passive solar design is embraced via the glass facade. This heightens the recognition of human engaging outwards with nature too. This new relationship between architectural space and human beings who occupy and move through it resembles an active participation in the experience of space.

1. E-Architect, Rolex Learning Center Building <http://www.e-architect.co.uk/switzerland/rolex-learning-center> [accessed 11 March 2015]

CONCEPTUALISATION | A.1 PRECEDENT PROJECT 2 2.5 ENGAGING ACTIVITIES : INTERIOR SLOPE OF THE OPEN SPACE IN THE HUB

2.5 FLUIDITY PORTRAYED IN ITS SPACE ORGANISATION

CONCEPTUALISATION | A.1 PRECEDENT PROJECT 2

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a.2 design COMPUTATION In this advent of science and technology, the interrelation between computer and architecture is dominant. This new continuity of man-machine relationship has become a medium that assist design thinking and making.1 From first being a medium to represent digitally (computerisation) to being a tool to aid and expand the possibilities in design approach (computation), it is however, important to acknowledge the fine distinction between computerisation and computation.

Clearly, computation develops more creative opportunities than ever before. Designers are opened to the study of complexity in design, incorporating various design parameters and exploring performative design of material systems.

“A very powerful symbiotic design system: computers will contribute their superb rational and search abilities,and we human will contribute all the creative and intuition...”2 As Vitruvius said over 2000 years ago, an architect must be knowledgeable about a great many disciplines. In other words, they must be skilled generalists. Today’s design reality show both creativity and critical, analytical thinking skills in architecture to be fairly challenging. Hence, this constant process of solving and redirecting current issues is definitely not an activity that is to be done with one facility alone.3 So with this, design computation is not detached from today’s design process. Remember, it is the digital age. While computers are superb analytical engines with logical reasonings and conclusion,4 it is the tool for designers, with their input of positive intention and imagination to realise the ideas into a visually perceivable manner.

1.

2.

3.

4.

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York : Routledge) p.5.

Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA:MIT Press) p.3.

Ibid, p.2.

Ibid, p.2.

CONCEPTUALISATION | A.2 PROLOGUE

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SYNTHETIC GRAIN indianapolis, united states projectione | 2010

DESIGN PROCESS AND ITS PRACTICE

DESIGN IMPACTS AND CONTRIBUTIONS

With exploration of fabricating a free-standing architectural panel, a multidisciplinary approach is employed to this project that runs the gamut from digital to analog fabrication. Utilizing computational design and digital fabrication techniques, Synthetic Grain is a biomimicry project that is inspired by natural grain patterns and organic forms.1 The creativity to explore the natural knotting and grain of lumber is perceived through computational innovation. Parametric software is benefited as a tool to create a graphic, 3D pattern system for an architectural screen that mimics the natural variations of wood.2

The performative design of material experimentation is one large ongoing and incoming changes of this design computation. Although most of the tolerances were worked out digitally, physical testing is done via prototypes that are laser cut. Industrial plastics that are concluded as the suitable project solution6 show a significant contribution to such contemporary design in architecture. As such, the generation of algorithmic thinking has impacted in an innovative leap for geometries that we previously thought to be just forms of curves and blobs; but now a dynamism of the multitude in parameters.

Working in Rhino, a grasshopper definition was created to adjusts parallel lines around a set of points based on proximity to that point.3 This resulted in a 3D curved, contoured surface made of laser cut polystyrene that lock into slots in a plywood baker. As a process of digital design, this definition allows further development of alteration in parametric, thickness of material and number of custom panels for various projects. For instance, building skin, retail storefront, or simply the backdrop for a bar.4 This thus evolves that design nowadays might be aligned with neither formalism nor rationalism; but with intelligent form and traceable creativity.5

DESIGN OPPORTUNITIES AND CONCEPT “We tried to make it flexible enough to adjust the Grasshopper definition, so it could be scaled for a building typology.” -PROJECTiONE.7 The opportunities to play with visual rhythms and the engagement of changing perceptions are created.

Such growing capability for scripting algorithms of a mediated variability has hence provided a new platform for design researches collaborating both art and science. Craftmanship is explored digitally and the concept of previous architectural theory where buildings prior to Renaissance were constructed, not planned8 is again gradually revived.

1. Projectione, Synthetic Grain <http://www.projectione.com/synthetic-grain/> [accessed 17 March 2015] 2. Fabrikator, Synthetic Grain < http://blog.archpaper.com/2013/09/projectiones-faux-bois-pas/> [accessed 17 March 2015] 3. Projectione.

4. ThinkParametric, Synthetic Grain by Projectione < http://designplaygrounds.com/deviants/synthetic-grain-by-projectione/> [accessed 17 March 2015] 5. Terzidis, Kostas (2006), Algorithmic Architecture (Boston, MA:Elsevier), p.xi.

6. Fabrikator.

7, ThinkParametric.

8. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA:MIT Press) p.7.

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CONCEPTUALISATION | A.2 PRECEDENT PROJECT 1

[TOP] 3.1 280 FINS FROM POLYSTRENE FOR A 12-FOOT, FREE STANDING ARCHITECTURAL PANEL [BOTTOM LEFT] 3.2 EACH FINS WAS BENT TO THE MATERIAL’S TOLERANCE AND FRICTION FITTED INTO BACKING SLOTS [BOTTOM RIGHT] 3.3 SLOTS FOR FINS WERE SCORED INTO PLYWOOD BACKING WITH A LASER CUTTER

CONCEPTUALISATION | A.2 PRECEDENT PROJECT 1

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lA FABRIQUE SONORE EXHIBITION reims, france hyong-gul kook, ali momeni & robin meier | 2011

DESIGN PROCESS AND ITS PRACTICE

DESIGN IMPACTS AND CONTRIBUTIONS

Installed in part of a largest underground systems of corridors and caves in the area of a champagne factory in France,1 La Fabrique Sonore combines computational design techniques with inspirations from ancient paper folding techniques.

Computation, in this case, has contributed to the idea of modulation and systems for its actual construction.

Combinations of basic geometry, with specific visual and acoustic impact on the immediate surroundings is produced. This is one example where computation has the ability to exploit form finding and aid designers’ critical thinking on material performance and cost production.

An algorithmic definition is produced and translated into a tangible structure, and for this case, the folding pattern is scrutinised via paneling a general form. Avoiding the common trap of reducing a structure to formalistic experimentation, the folds act as a multi-layered metaphor for the relationship between mind and matter; resulting in a highly geometric, suspended structure.2 To create a “real-time analysis” audio system is the continually evolving target of this installation. The digital fabrication of this project relates to the phase of design process where there is no such casual relationship between form and function.3 Instead, it is a process where the designers examine the arrangement of folds, performance of materials and assembling the structure into a holistic ensemble.

DESIGN OPPORTUNITIES AND CONCEPT An enclosed space that overflows the listener in its center of sound is generated from this installation that acoustically amplifies the sound from a single speaker-driver.4 To me, it is interesting to see how computation has relate art and architecture. It is to be embraced, that the speed of computation enables parametric renditions to stimulate one kind of innovation which connects the experience of users in space.

1. Grozdanic, Lidija (2012) “La Fabrique Sonore” Acoustically Amplifies the Sound of Champagne Bubbles <http://www.evolo.us/architecture/la-fabrique-sonore-acoustically-amplifies-thesound-of-champagne-bubbles/> [accessed 18 March 2015] 2. ArchDaily (2011) “‘La Fabrique Sonore’ Exhibition / Hyoung-Gul Kook, Ali Momeni and Robin Meier” <http://www.archdaily.com/?p=191889> [accessed 18 March 2015] 3. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA:MIT Press) p.11.

4. ArchDaily.

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CONCEPTUALISATION | A.2 PRECEDENT PROJECT 2

[TOP] 4.1 A 10X10X12M CONE-LIKE STRUCTURE OF FOLDS [BOTTOM LEFT] 4.2 285 FLAT SHEETS OF ALUMINIUM/POLYETHYLENE COMPOSITE, PRECISELY FOLDED 2,535 TIMES [BOTTOM RIGHT] 4.3 AN ARCHITECTURAL AUGMENTATION OF THE SPACE THAT SERVES AS A FUNCTIONAL LOUD SPEAKER

CONCEPTUALISATION | A.2 PRECEDENT PROJECT 2

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a.3 composition/generation As mentioned earlier in A.2 Design Computation, the symbiotic design system of computers and humans is undeniably crucial today. With the use of computation as a powerful design tool, architecture and design practice has now shifted to a brand new approach. An approach that is no longer the traditional process through composition, yet one that may propose a type of architectural style in this 21st century generation-based approach.

“Architects write programs to customise their design environments.”1 Generative design has expanded the possibilities of architecture. From the past, architects tend to focus more on the arrangment of forms and spaces. With computational skills, one can now design a product through a process that might be hardly achieved with human’s intellect. This approach of generation leads to results that leaves most people now in awe due to its high unexpectedness and impossible possibilities.

With generative design, comes the exciting topic of algorithmic thinking. “Sketching by algorithm”, a recipe for getting computers to do something2 works in imitation of natural rules and generate endless variations. It is a process where creative ideas and forms interlink in a series of algorithms, seen as form finding rather than form making.3

While this fresh and stimulating design approach seems to open doors to complex and parametric artworks, it is important to also question the outcome produced. To me, the application of algorithmic thinking and scripting culture create innovative concepts and discoveries. Yet, it also has driven designers today to swift away from their originality and became followers of similar aesthetic artworks. This is when it is vital to be reminded that, it is not computer using architects but architects using computer as a drive to achieve new and meaningful designs. Arguments of such would be further discussed in the selected two precedents.

1. Peters, Brady (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, p.9.

2. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London : MIT Press) p.11.

3. Kolarevic, Branko, “Architecture in the Digital Age: Design and Manufacturing”, p13.

CONCEPTUALISATION | A.3 PROLOGUE

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LOOM HYPERBOLIC marrakech, morocco barkow leibinger | 2012

5.1 CLOSE UP OF THE STRUCTURE OF LOOM HYPERBOLIC

ALGORITHMIC THINKING AND PARAMETRIC MODELLING

IMPACTS FROM GENERATION-BASED APPROACH

With the local traditional hand-craft culture Morroccan weaving as an initial idea,1 Barkow examined the considerations that could be formed through algorithm software programming to construct a geometrical form that relates to architecture of Marrakech.

As a result from generation, a transaprent tent-like structure is created. The frames are made from locally sourced hand-peeled pine poles while cotton yarn is stretched over these structures to create a gigantic loom comprised of thousands of lines.2

A series of parallel lines forming a surface is the first input of algorithm to generate a form. Of course, this is not a total lineal process. Trial and error is common in this generation-based approach. Different prototypes are too to be built to test the stress of the structural frame and tensile force among the parametric lines.

It is interesting to see that Loom Hyperbolic incorporates a fresh and sustainable approach to digital architecture that combines indigenous craft technique. With a 2.5x2.5 meter grid as its site, calculation to define the hyperbolic volumes and spacing is crucial to be obtained from algorithmic thinking. It forms an underlying logic of architecture and increase greater efficiency in translating a precise modeling that is governed with complexity and irregularity.

1. ArchDaily (2012) Higher Atlas / Barkow Leibinger Architects <http://www.archdaily.com/?p=245728> [accessed 18 Mar 2015] 2. Inhabitat, Barkow Leibinger’s Amazing ‘Loom-Hyperbolic’ Art Installation < http://inhabitat.com/barkow-leibinger-unveils-striking-loom-hyperbolic-art-installation-made-from-local-naturalmaterials/loom-hyperbolic-by-barkow-leibinger/ > [accessed 18 Mar 2015]

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CONCEPTUALISATION | A.3 PRECEDENT PROJECT 1

5.2 PERSPECTIVE AND AXONOMETRIC VIEW OF THE FORMATION OF SERIAL/CELLULAR SPATIAL MATRIX

5.3 NIGHT VIEW OF THE LOOM-HYPERBOLIC

5.4 STRUCTURES MADE OF NATURAL AND LOCAL INDIGENOUS MATERIALS

CONCEPTUALISATION | A.3 PRECEDENT PROJECT 1

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emporia malmo, sweden wingardhs | 2012

6.1 CLOSE UP OF THE CURVED STRUCTURE

ALGORITHMIC THINKING AND PARAMETRIC MODELLING

IMPACTS FROM GENERATION-BASED APPROACH

A competition-winning plan it is, a feature of the enormous golden entrance that curves inwards is one attraction. It is a project that scrutinize the catenary system and gridshell structure that is controlled using computational design and computer-controlled fabrication.

However, the complexity in algorithms through computation might constrain designers to work within their boundaries. This is due to skills and knowledge of designer that is limiting how a design could be modified through generation-based approach. The outcome of Emporia has raised questions and critics on its sustainability.

In order to achieve the constructibility of this initial idea, computation assist the architects to predict, model and simulate the encounter between architecture and public precisely.1This underlying parametric relationships within softwares allow quick adjustment in the design to be made in response of site constraints, engineering materials and structure performance

Indeed, it is a building that symbolise what a shopping mall would be - sleek and dynamic. Yet, its bold curvature might lead to issues linked to practicality in adapting environments. I question, is this shaped for snow avalanche, considering Sweden’s climate? The practicality of many “futuristic” buildings that emphasize movement in architecture is a constant issue today. Hence, with generationbased approach, the interdependency of architects, programmers, structural and material engineers should be greatly emphasized.

1.Peters, Brady (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, p.9.

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CONCEPTUALISATION | A.3 PRECEDENT PROJECT 2

6.2 SECTION VIEW OF THE EMPORIA

6.3 OVERVIEW OF EMPORIA

5.4 GRIDSHELL AND CATERNARY SYSTEM INCORPORATED

CONCEPTUALISATION | A.3 PRECEDENT PROJECT 2

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a.4 CONCLUSION

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Architecture, which to many, is some sort of art in an environment; is actually beyond just the visual aesthetic and shelter for mankind. It is a medium to convey message to the society, and even having impacts on the future generation. Thus, with incorporation of digital technology, architecture as a discourse should retain sustainability, redirect future and reconnect societies.

Architecture now, maintaining its stand on forms follow functions, is also taking a perspective into examine materials and structural performances serving as aesthetic integration. The flexibility in generating and constructing architecture too, with the aid of computation, allows designers to scrutinise the best possible outcomes and approach in realizing it to tangible architecture.

While computation partakes as a catalyst in architecture to further push the evolution of design, it is vital to take a balance between the benefits and shortcoming from it. The engagement of parametric design into architecture is a current new level of emerging digital science into architecture.

With this, the shift of producing architecture through algorithmic process has resulted in the state-of-theart of generation-based approach.

Finding an equilibrium between form finding and form making is crucial; and for that, I would like to further explore it in my design process. Critical thinking of achieving both aesthetic and productive architecture would be highly emphasized too. Of course, taking sustainability into account is the aim of the end-product. The approach to be able to contributing something to the society, preserving the environment and engaging human into the design experience would be something I anticipate for.

CONCEPTUALISATION | A.4 CONCLUSION

a.5 LEARNING OUTCOMES Just within three weeks, I came to realization that architecture is indeed a never-ending dialogue between the relationship of space and experience. As a learner, I started to expand my horizons on the limitless creativity that architecture could create. The integration of computation itself has made me leap into the world of creative innovations.

Exploring Grasshopper is another door for me to develop an in-depth outlook on algorithmic thinking.

I started to have a new attitude in finding outcomes.

Through a general conceptualization, expanding my option that is facilitated by the power of computation and parametric variables would be a wonderful opportunity for me to advance in my steps in architecture.

CONCEPTUALISATION | A.5 LEARNING OUTCOMES

31

a.6 appendix The selected algorithmic sketches are some brief exploration on Grasshopper for parametric modelling and design. For now, I believe due to my still limited understanding on algorithmic inputs, trial and error is a process in this exploration phase.

In order to achieve the outcome of pattern exploration on each surfaces grid data, it stimulates the algorithmic thinking of the input of each command that would generate a possible pattern form.

These approaches have definitely helped my understanding in some of the precedent projects that is generated through computation in the earlier chapters. Parameters and data formulation could be arranged for a connection to bring out complex aesthetic in architecture.

32

CONCEPTUALISATION | A.6 APPENDIX

“Divide surface” into grid points is useful i order to formulate a pattern on it. With that, “cu pattern” generates a formula of points with a cullin pattern that could be decided by toggle Using cross referencing between initial points from surface and that from culled list, a symmetric an interesting pattern is formed.

in ull ng es. m nd

For this, a radial grid is generated. By cross referencing with its points itself, a pattern is formed.

This is important in order to understand the differences between this radial grid data with the next radial grid data that is flattened (right).

Exactly the same algorithm as the radial grid on the left, a much more complex pattern is formed when the points on grid is flattened.

This flattened grid data illlustrate that the points on grid are now a continous connection.

CONCEPTUALISATION | A.6 APPENDIX

33

PART B

CRITERIA DESIGN 34

b.1 RESEARCH FIELD :Tesselation As discussed in Part A, computation has expanded the possibilities of the parametric world of architecture. There is an ontological shift in parametric design from ideal rigid geometric to splines, blobs and nurbs.1 In order to understand parametric design and its potential as a foundation towards the final project, B.1 Research Field aims to explore the development of a technique of interest.

Tesselation, an example of parametric approach, would hence be scrutinised thoroughly in this chapter.

“Parametric modelling is not new: building components have been adapted to context for centuries.”2 Interestingly, all architectural designs from the past are in fact, parametric.3 Likewise, tesselation could be dated back to the byzantine empire where it was used as ornamentations in stained glass and mosaics.4 As an algorithmic manifestation in computational design, tesselation is a mathematical term of fitting a series of pieces without gaps or spaces.5 It focuses on the arrangement of shapes on planes, and in an architectural aspect: ornamentations on facades or a general exterior form.

“Ornaments and decorations are crime to architecture,” -Adolf Loos.6 Is this true? Reflecting on modernist architecture where ornaments are redundant; minimalism is considered a proper way of designing, as stated by Adolf Loos.7 It is however, important to reconsider the function of ornaments, in this case, tesselation, could be not primarily visually driven, but also performance driven,8 Such ornaments are not crimes, yet are means to even allow architecture to become connected to culture.9 Tesselation, in fact, surpasses the role as just ornamentation.

By examining further the function and approach of tesselation, it is a highly appreciated response to the agenda of sustainability in architecture. The enhanced capacities of material practices that deal with tesselation have been applied into production of urban fabrics and also the research of building envelopes.10 Such approach has even developed new technologies and parametric designs that have expanded the limits of urban context to include other dimensions of space and time.11

1. Jahn, Gwyllim (2015), Lecture on Parametric Modeling, (Melbourne : University of Melbourne) 2. Aish and Woodbury (2005), The Challenges of Parametric Modeling, <http://www.danieldavis.com/thesis-ch2/>, p.152.

3. Jahn, Gwyllim.

4. Geometry Adventure : Tesselation and Mosaics <http://www.scientiareview.org/pdfs/205.pdf> [accessed 10 April 2015].

5. Iwamato, Lisa (2009), Digital Fabrication: Architectural and Material Techniques, (New York: Princeton University Press), pp.42-56.

6. Loos, Adolf (1908), Ornament und Verbrechen..

7.Ibid.

8. Peters, Brady (2013), Realising the Architectural Intent: Computation at Herzog & De Meuron, Architectural Design, 83,2 p.60.

9. Moussavi, Farshid and Michael Kubo, eds (2006), The Function of Ornament (Barcelona: Actar) p.9.

10. Polo, Zaera (2009) Patterns, Fabrics, Prototypes, Tessellations (Architectural Design) p.20.

11. Ibid.

CRITERIA DESIGN | B.1 PROLOGUE

35

FABPOD melbourne, australia rmit | 2013 CONCEPTUAL DESIGN IMPLICATIONS

DESIGN OPPORTUNITIES AND FABRICATION CONCERNS

In order to address a meeting room enclosure within an open plan work environments, acoustic design and architecture are brought together to investigate the use of space.1 As it is through ornaments, that material transmits affects,2 tesselation of hyperboloids (ornamental concept of FabPod) is done to create a surface geometry that maximise sound scattering within the space.3 This relationship between tesselation and geometry hence create an acoustically tuned meeting room through strong parametric approach.

This project is one of the many examples in present architecture, that illustrates the possibility of the previously unattainable material realization of complex geometric organizational ideas. Digital fabrication and the notion of craft is now a fundamental interconnection to explore the performance and function of architecture.

Tesselation, in this project, is examined for form-finding and the exploration of the set of rules that guarantee planar intersections between each hyperboloids with the aid of voronoi algorithim.4

1.1 THE RULES AND CONCEPT OF GEOMETRIC AXIOMS FOR TESSELATION

1.2 DIAGRAM OF GEOMETRIC RULES DRIVING THE FABPOD

1. RMIT (2012) FabPod < http://www.sial.rmit.edu.au/portfolio/fabpod-sial/> [accessed 14 April 2015].

2. Moussavi, Farshid and Michael Kubo, eds (2006), The Function of Ornament (Barcelona: Actar) p.8.

3. ThinkParametric, FabPod - RMIT Design Hub < http://designplaygrounds.com/deviants/fabpod-rmit-design-hub/> [accessed 14 April 2015].

4. Davis, Daniel (2013) FabPod <http://www.danieldavis.com/fabpod/> [accessed 14 April 2015].

36

CRITERIA DESIGN | B.1 PRECEDENT PROJECT 1

1.3 DETAILS OF TESSELATION AND FORM OF FADPOD

CRITERIA DESIGN | B.1 PRECEDENT PROJECT 1

37

FASHION NIGH OUT (fno) PAVILION mexico city mmx studio | 2011 CONCEPTUAL DESIGN IMPLICATIONS

DESIGN OPPORTUNITIES AND FABRICATION CONCERNS

Proposed to relate to fashion in the sense of texture of fabrics, this pavilion incorporates tesselation as a function to screen the entrance of the gallery.1 The approach of using tesselation, in this case, resembles the many buildings that still continue to effectively relate to culture by creating sensations and affects via ornamentations.2 The installation works with the redefinition of space, with repetitive objects that would naturally merged together with the space for a new configuration and experience.3 The surface is uniquely tesselated with folds of credit cards; an experimentation of paneled pattern that shows dynamism on a stagnant form.

Structural-wise, metal brackets hold together two different componentsâ&#x20AC;&#x201D;one folded and one flat.4 Test was done via Rhino, integrating the combination of physical and digital medium to deal with an evolving empirical testing of material. This was done to find the balance between structure and its buildable surface connection. It is learnt that geometry of tesselation is crucial in determine its various performances: environmental, iconographic or expressive.5 Tesselations serve as a representational function of architecture; with connection to tile, form, and affect a surface of geometry.

2.1 FOLDING CREDIT CARDS AS PANELED PATTERN FOR TESSELATION

2.2 CONCEPT AND DESIGN ORDER OF TESSELATION

1. The Architectural League (2012) League Prize 2012: Emmanuel Ramirez and Diego Ricalde, MMX Studio (lecture) < https://www.youtube.com/watch?v=4eJGWElfHf0 > [accessed 13 April 2015].

2. Moussavi, Farshid and Michael Kubo, eds (2006), The Function of Ornament (Barcelona: Actar) p.8.

3. MMX Studio, FNO Pavilion < http://www.mmx.com.mx/?lang=en&p=126 > [accessed 14 April 2015].

4. Ibid.

5. Polo, Zaera (2009) Patterns, Fabrics, Prototypes, Tessellations (Architectural Design) p.23.

38

CRITERIA DESIGN | B.1 PRECEDENT PROJECT 2

2.3 DETAILS OF TESSELATION ON FNO PAVILION

CRITERIA DESIGN | B.1 PRECEDENT PROJECT 2

39

3.1 INSTALLATION OF VOLTADOM

40

b.2 case study 1.0 VOLTADOM | SKYLAR TIBBITS | 2007 An installation created for MIT, VoltaDom is designed by a multidisciplinary research based practice SJET, founded by Skylar Tibbits in 2007.The structure element - the vault is researched with the definition of tesselation. Through this, the attempt to find its contemporary equivalent through various assembly and fabrication techniques is achieved.1 The vaults provide a thickened surface articulation and a spectrum of oculi that penetrate the area with views and light. The notion of surface panel is expanded by intensifying the depth of a doubly-curbed vaulted surface.2 It is learnt that it is possible to transform curved vaults to developable strips. Furthermore, the use of tesselation in order to find a form that is structurally buildable is emphasised.

PRINCIPLES OF DEFINITION TO BE EXPLORED

Make a series of cones

Trim cones to create voronoi

Find intersection with a plane

Trim cones to create oculus

All surfaces are developable

1. Grozdanic, Lidija (2011) VoltaDom Installation / Skylar Tibbits + SJET Adventure : Tesselation and Mosaics <http://www.evolo.us/architecture/voltadominstallation-skylar-tibbits-sjet/> [accessed 18 April 2015].

2. Ibid.

CRITERIA DESIGN | B.2 PROLOGUE

41

matrix 1.0 VOLTADOM | SKYLAR TIBBITS

SPECIES 1 FLAT SURFACE

The definition is first tested on flat surface with basic cull pattern from populated points on surface. Alteration was done to the extrusion factor while adjusting the size of cones, that represents the tesselation of Voltadom.

SPECIES 2 RADIAL GRID ARRANGEMENT

In order to investigate the primitive that works as tesselation on surface, arrangement and order of each primitives are tested. This is done via the radial grid. Through this species, it is realised that the center of point is important to avoid arrangement of tesselation that collides each other.

SPECIES 3 PARABOLIC SURFACE

SPECIES 4 HEMISPHERE

SPECIES 5 CURVE LOFTED SURFACE

42

CRITERIA DESIGN | B.2 MATRIX

After understanding the principles of tesselation arrangement, the definition is applied to parabolic surfaces that are provided by the LunchBox plug-in.

This is done in order to study the connection of tesselation on surface.

Applying tesselation to a sphere, it is understood that these geometries could be further work as a structural foundation. This species hence examine the different height of extrusion that would impact on stability of a volume.

In order to achieve the random arrangement of tesselation in VoltaDom, this species hence test the voronoi on lofted surface; in which its height is defined via point of attraction and order on surface.

SPECIES 1 : FLAT SURFACE

SPECIES 2 : RADIAL GRID ARRANGEMENT cull list

cull list

radial grid size

extrusion factor

radial extent

radius of cone

polar extent

length of cone

radius of sphere

radius of circle

radius of polygon segment of polygon

cull list radial grid size cull list

radial extent

extrusion factor

polar extent

radius of cone

radius of sphere

length of cone

radius of polygon

radius of circle

segment of polygon

cull list radial grid size cull list

radial extent

extrusion factor

polar extent

radius of cone

radius of sphere

length of cone

radius of polygon

radius of circle

segment of polygon

cull list cull list

radial grid size

extrusion factor

radial extent

radius of cone

polar extent

length of cone

radius of sphere

radius of circle

radius of polygon segment of polygon

cull list cull list

radial grid size

extrusion factor

radial extent

radius of cone

polar extent

length of cone

radius of sphere

radius of circle

radius of polygon segment of polygon

cull list cull list

radial grid size

extrusion factor

radial extent

radius of cone

polar extent

length of cone

radius of sphere

radius of circle

radius of polygon segment of polygon

CRITERIA DESIGN | B.2 MATRIX

43

SPECIES 3 : CURVED SURFACE

SPECIES 4 : HEMISPHERE

mobius surface

radius of sphere

radius of polygon

radius of cone

segment of polygon

length of cone

extrusion factor

trim length

helicoid surface

radius of sphere

radius of polygon

radius of cone

segment of polygon

length of cone

extrusion factor

trim length

torus surface

radius of sphere

radius of polygon

radius of cone

segment of polygon

length of cone

extrusion factor

trim length

radius of sphere conoid surface

radius of cone

radius of polygon

length of cone

segment of polygon

trim length

extrusion factor

klein surface radius of polygon

radius of sphere

segment of polygon

radius of cone

extrusion factor

length of cone trim length

hyperbolic paraboloid radius of polygon segment of polygon extrusion factor

44

CRITERIA DESIGN | B.2 MATRIX

radius of sphere radius of cone length of cone trim length

SPECIES 5 : CURVE LOFTED SURFACE

cull list extrusion factor radius of voronoi scaling factor

cull list extrusion factor radius of voronoi scaling factor

cull list extrusion factor radius of voronoi scaling factor

cull list extrusion factor radius of voronoi scaling factor

cull list extrusion factor radius of voronoi scaling factor

cull list extrusion factor radius of voronoi scaling factor

CRITERIA DESIGN | B.2 MATRIX

45

design criteria & selected outcomes â&#x20AC;&#x153;You work within ambiguity. You seek unity, a gathering together, a form of permanence.â&#x20AC;? - Jacques Herzog.

Albeit the fact that the iterations were generated with minimal direction in terms of final form finding, this engaging exploration of the potential in grasshopper definition serves as strong design concepts.

DESIGN CRITERIA 1. Flexibility and functionality 2. Engaging relationship between human and nature 3. Structural feasibility 4. Interaction of space

As tesselation would serve as the main function of driving the design, this is selected as an ideal vault size for further development of panel cladding. In an architectural persective, the flexibility of a surface could be achieved by these voronoi-like vaults. Furthermore, these panels have the quality to enhance acoustic consideration (as seen in the project of FabPod). Inflatable materials would also be interesting to be incorporated with the idea of vaults.

As mentioned earlier, tesselation deals with the arrangement of panels on surface. This spiral effect created from the panel arrangement would be ideal for a form-finding stimulation. In order to achieve a strong relationship between human and nature as discussed in the brief, spiral effect could be an idea of engaging such. The welcoming gesture provided could be translated as the flow of space within an architecture.

1. HerzogdeMeuron, Ornament, Structure, Space <https://www.herzogdemeuron.com/index/practice/writings/conversations/chevrier-en.html> [accessed 18 April 2015].

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CRITERIA DESIGN | B.2 SELECTION CRITERIA

Tesselation in this case, works within tensegrity. This relates strongly to the structural feasibility of tesselation for further development. As such, the selection was done by critically thinking what tesselation could be pushed as. This potential idea of self-sustainable architecture suggest an interdependency of each elements to form a volumetric geometry. Also, the gap in between is vital to consider its impact of wind load and also the transmission of light and its air ventilation.

While trying to achieve a striking aesthetic design as a supporting criteria, tesselation of such could be considered as an input of panel formation. The arbitrary and randomness in its panel design could be pushed further for a general cladding in future design. This quality of asymmetry in arrangement should be highly considered as an effect of irregularity and flexibility of the function of design space.

CRITERIA DESIGN | B.2 SELECTION CRITERIA

47

4.1 INSTALLATION OF NINETY-NINE FAILURES PAVILION

48

b.3 case study 2.0 NINETY-NINE FAILURES PAVILION | UNIVERSITY OF TOKYO | 2013 With an intention of exploring architectural innovation, this pavilion is a study of Buckminster Fullerâ&#x20AC;&#x2122;s concept of tensegrity, which defines a structure by its tension and compression forces rather than structural elements.1 This hence stimulate the form finding process that could smoothly translate from a flat, two-dimensional surface into a sturdy 3D form. A slight change in tension would cause the pavilion to collapse. The stability of this design is thus a very important key consideration.

Furthermore, the tesselation of this pavilion is interesting. Thin stainless steel sheets are welded together and inflated with hydraulic pressure to create the shape of inflated metal pillows as compressive structural element.2 These metal components are pulled together with prestressed cables. The arrangement of the steel panels was carefully spaced to allow the entry of light while minimizing the impact of wind loads.

By reverse-engineering this project, an inspiration of its technique development is intended to be sought for a design proposal. Crucial factors such as stability of structure and physical assembly simulation are hence going to be considered in this development.

1. Ninety Nine Failures | Digital Fabrication Lab Pavilion <http://architype.org/project/ninety-nine-failures-digital-fabrication-lab-pavilion/#sthash.bSvUQILE.dpuf> [accessed 18 April 2015].

2. Ibid.

CRITERIA DESIGN | B.3 PROLOGUE

49

REVERSE ENGINEERING NINETY-NINE FAILURES PAVILION | UNIVERSITY OF TOKYO

50

1. Three curve primitives are generated as the skeleton of the pavilion.

3. Surface grid of 2D bracing structure (lunchbox plug-in) is incorporated. These lines are then piped to form the tensile cables.

5. Using SmartForm plug-in, a mesh is inflated to represent the steel plates. This is then morphed onto the grid surface.

2. These curves are lofted to form an overall surface of the pavilion.

4. Further adjustment of points on curve is done in order to achieve strips of cables for fabrication purpose.

6. Dispatching the morph is done in order to create the irregular pattern of tesselation as suggested in the project.

CRITERIA DESIGN | B.3 REVERSE ENGINEERING

REFERENCED CURVE

LOFT

DIVIDE CURVE

NURB CURVES

DECONSTRUCT BREP

BRACED GRID 2D STRUCTURE

PIPE

DIVIDE DOMAIN

MESH

ISOTRIM

SMART FORM

SURFACE BOX

BOUNDING BOX

DISPATCH

BOX MORPH

CRITERIA DESIGN | B.3 REVERSE ENGINEERING

51

final outcome NINETY-NINE FAILURES PAVILION | UNIVERSITY OF TOKYO

52

CRITERIA DESIGN | B.3 FINAL OUTCOME

The initial form-finding process of the project is done via relaxation through kangaroo physics. While the input of kangaroo physics for form finding is not scrutinised in this reverse engineering process, it is understood that a structure that could hold the tensigrity of cables have to be considered.

Similar tensile forces of the alignment of cables are hence achieved.

The arrangement of the metal panels are also alike in terms of its order. However, the details of how the panels are held by the cables are limited.

Connection and joints of such should be tested during fabrication.

With the definition created, this design technique would be further pushed in order to visualise and develop the opportunities of various panelling, arrangement, form finding and structural connection.

CRITERIA DESIGN | B.3 FINAL OUTCOME

53

54

b.4 technique : development PANEL ARRANGEMENT

PANEL VARIETY

FORM FINDING

MESHING STRATEGIES

STRUCTURAL CONNECTION

The sequence and grid spacing on a volume is important to determine the function of panels. Spacing of such could be benefited as either an emphasis on enclosure or perspective of views from inside out. Panel arrangement is thus relatable to the patterning formation of cladding.

With such, a variety of panel design is explored. This varies from flat surface cladding to exposed bracing cladding and even dynamic 3D cladding. These are done in order to test the different functions that could be provided in terms of interactive and spatial experience.

As a benefit of computerisation, form finding is definitely one of the stimulator for the iterations. This process help in engaging a visualization of the volumetric spaces. Furthermore, consideration of stability could be explored.

Likewise, the input of different meshing strategies is incorporated too. Structural connection is explored through different paneling technique and waffle system. These iterations emphasise on the design thinking of digital fabrication.

CRITERIA DESIGN | B.4 PROLOGUE

55

matrix 2.0 NINETY-NINE FAILURES PAVILION | UNIVERSITY OF TOKYO

56

CRITERIA DESIGN | B.4 MATRIX

CRITERIA DESIGN | B.4 MATRIX

57

design criteria & selected outcomes With the design criteria kept in mind, the exploration of definition is now incorporating an idea of what is aimed to be achieved. Inspired by the technique from Ninety-nine Failure Pavilion, tensegrity is highly driven as an idea to support the structure. Panel cladding are designed in order to achieve optimum acoustic value for future design proposal.

DESIGN CRITERIA (AS BEFORE) 1. Flexibility and functionality 2. Engaging relationship between human and nature 3. Structural feasibility 4. Interaction of space

This iteration is formed with the idea of inputting inflatable membrane on each circular panels. It is understood that plastic works perfectly for acoustic consideration of amplifying sound in open space. The metal bracing works as a lightweight structural material that would â&#x20AC;&#x2DC;clipâ&#x20AC;&#x2122; and hold the panels with tension and compression.

58

CRITERIA DESIGN | B.4 SELECTION CRITERIA

The form generated is interestingly an opportunity to be further developed. The structure that is self supportive could be placed on ground with a rather interactive space.

Again, the bracing would be fabricated as welded metal rods. The tesselation of panels is considered as a potential design for achieving acoustic function. The angular panels would reflect the transmission of sound and hence amplify it in an open space.

Structural-wise, this iteration would only be able to work as a hanging backdrop. However, a different type of connection for tesselation is discovered. Bolting panels with one and another, this structure would emphasise on the interdependecy of elements. This potential could be indirectly bringing up the engagement of interdependency between human and nature.

With the idea of growth of tree, this form is considered one of the potential design for future proposal. The idea of modifying metal rod bracing to waffle grid system with panels that are finger jointed is highly considered. This is due to future incorporation potential panels in the future. This would push the limit of the aesthetic value of panel design that would not forget to maintain equally high acoustic performance value.

CRITERIA DESIGN | B.4 SELECTION CRITERIA

59

60

b.5 technique : prototypes With experimentation on the emphasis of structural connection of potential tesselated model, three prototypes are done for detailed analysis. The process of digital fabrication and model assembling sequence is recorded. The approach of different structural connection would hence determine the choice of design. Also, this might possibly contribute to further detailing and accuracy of the final design and fabrication outcome.

CRITERIA DESIGN | B.5 PROLOGUE

61

PROTOTYPE 1 : WAFFLE GRID SYSTEM

DIGITAL FABRICATION AND MATERIALITY

MATERIAL PERFORMANCE

This prototype is a concept of frame and infill system.

Extruding the curves from the square grids obtained on surface, these curves are then translated into intersecting polysurfaces.

A series of tensional tests were done. It is observed that waffle grid system is a very stable structure.

Stretching and bending does not affect the form.

However, the intersecting joints are the weakest points.

Steel angles are ought to be added in order to allow more flexibility while maintaining its rigidity.

These surfaces act as a series of intersecting ribs in order to support the panels. The panels, (a series of joined surfaces) are unrolled onto XY plane, with tabs added. In this prototype, boxboard is used as a representation of timber frame. Panels are made of translucent polypropylene in order to test its transmission of light and sound.

5.1 ASSEMBLING PROCESS

62

CRITERIA DESIGN | B.5 PROTOTYPE 1

After assembling the structure, it is also realised that panels have to be in their exact sizes in order to fit in the infills. Prefabrication of panels hence have to be precise in terms of material thickness and its expansion in a long run; otherwise, timber frame would have the tendency of buckling (as seen in the top right photo of prototype).

While this structural frame may be stable, it does not reflect much of tensegrity, a technique to be aimed in the design. This is mainly due to its material that is not flexible for twisting. Forms are also restrained as curved surfaces as frames could not be achieved in this structural connection method.

5.2 PROTOTYPE (WAFFLE GRID SYSTEM)

CRITERIA DESIGN | B.5 PROTOTYPE 1

63

PROTOTYPE 2 : tensional wire

DIGITAL FABRICATION

MATERIALITY AND PERFORMANCE

Again, it is a concept of frame and infill system.

However this time, the prototype is tested with thin curves acting as its tensile structure.

It is observed that tensile wires have the flexibility in creating an aesthetic and intriguing form. Tensegrity is the main criteria of this prototype. It has the ability to illustrate a lightweight structure.

Curves on surface were piped as a translation of wire cables. The panels were fabricated in the same way as the previous prototype. Galvanized wire is used as the tensile strings that form the overall curvature of surface.

This prototype is a rough demonstration test on the effect of panels that are connected via wire cables.

To further develop the potential of tensile wires, cables should be welded to form a structure.

Suggestion of 3D printing would be a better option of illustrating the connection of the complex wires.

64

CRITERIA DESIGN | B.5 PROTOTYPE 2

Although the cables might have the tendency of moving when there are live loads, panels added would enhance its stability. This is observed via the prototype of both the general structural form and the other that includes the panels.

The wires that are punched through the panels, could determine the direction and orientation of the panels.

This method of structural connection is interesting, yet would be a challenge in creating a stable form that would be sustainable for design development.

5.3 PROTOTYPE (TENSIONAL WIRE)

CRITERIA DESIGN | B.5 PROTOTYPE 2

65

PROTOTYPE 3 : BOLT AND NUT

DIGITAL FABRICATION

MATERIALITY AND PERFORMANCE

This prototype focus on the interdependency of panels as structural connection. Panels are fabricated the same way as previous prototypes, however, the choice of material opacity is altered.

It is observed that this structure gives an expression of mass monumentality due to its solid panels. The outcome of lightweight structure is not applicable in this situation.

White polypropylene is used instead. This was done in order to hide the bolts and nuts, giving an impression of panels being connected together with little or no joints. The panels are bolted in all directions.

Interestingly, the bolts that connect the panels have a â&#x20AC;&#x153;spring effectâ&#x20AC;? on the movements of the form in general. This indirectly shows the idea of tensile force between each panels. The structure itself is stable and does not bend or twist easily, achieving the aim of self-sustainable architecture.

5.1 ASSEMBLING PROCESS

66

CRITERIA DESIGN | B.5 PROTOTYPE 3

5.4 PROTOTYPE (BOLT AND NUT)

CRITERIA DESIGN | B.5 PROTOTYPE 3

67

68

b.6 technique : proposal â&#x20AC;&#x153;Implementing the idea of self-commissioned architectureâ&#x20AC;? - 2015 Studio Air Brief.

As previously mentioned, a design that is flexible in its use of space is highly aimed in the proposal.

The brief has led to the interest in creating an open air stage that is believed to emphasize on the sustainability of the community. By this, sustainability is defined as an approach of boosting environmental system. Moreover, it targets to amplify the cultural aspect while retaining the engagement of communities.

Various activities engaged on existing site.

CRITERIA DESIGN | B.6 PROLOGUE

69

SITE ANALYSIS

Chosen site as a potential of development (CERES Environmental Park)

70

CRITERIA DESIGN | B.6 SITE ANALYSIS

CONCEPT

INSPIRATION

It is observed that the park itself is already an enriching and sustainable environment that emphasise on the relationship of mankind and the natural system. In order to enhance this characteristic in impacting a larger scale of community, one of the open spaces in CERES (namely Village Green) is suggested to be redeveloped as a gathering space of cultural events.

A great inspiration was stimulated from the very traditional event of such - Campfire. The stacking of stones and woods are actually relevant to the technique that were previously explored tesselation and tensegrity.

Thus, this came to the proposal of an open stage that could be used as an event organization space; but also has the flexibility of being a pavilion for the park on non-event days. The targeted stakeholders of this proposal are gig performers, musicians and the Brunswick community.

Melbourne, is a highly cultural city with people appreciating music and art. With this incentive in mind, the open stage would be a hub that gathers people for the cultural sustainability and indirectly be aware of the environmental benefits from CERES and the beauty of Merri Creek.

With such, the tensegrity of wood stacking aids the design process of a concept in form finding and structural stability. The idea of stones would be discussed on the next page, regarding the formation of panels for tesselation and its expansion of ideas in regards of acoustic considerations.

CRITERIA DESIGN | B.6 SITE ANALYSIS

71

DESIGN APPROACH After a detailed research on sound acoustic, ellipse panels are chosen as the tesselation approach. The general form of the open stage would be parabolic. This is highly due to bouncing of sound that transmit as straight lines and could be directed to the audiences.1

SOUND REFLECTION OF PARABOLIC SURFACE

To further amplify the sound, the panels are again studied in terms of materials. A cavity inside the panels would be good in sound reflection as there would be certain fundamental frequency that would resonate with the sound produced on stage.

1. NDT Resource Centre, Reflection of Sound < https://www.nde-ed.org/EducationResources/HighSchool/Sound/reflection.htm> [accessed 30 April 2015]

72

CRITERIA DESIGN | B.6 DESIGN APPROACH

PROPOSED DESIGN OF OPEN STAGE

CRITERIA DESIGN | B.6 DESIGN APPROACH

73

W

74

b.7 learning objectives and outcomes REALIZATION

POTENTIAL IMPROVEMENTS

The exploration of not only theoretical ideas of precedent projects, but further in depth to the practicality and formation of the design is a new leap of studying the possibilities of architecture.Through reverse engineering and design iterations, the process has enhanced the design thinking in approaching a proposal. Like previous studios where the objectives of final design is to aim for an ability to generate good justifications, this learning process has expanded the knowledge of parametric approach incorporated in design.

The objective of achieving various possibilities in computational geometry is also scrutinised via the learning of algorithms in grasshopper.

The feedbacks from the interim presentation has led to the challenge of design thinking. Albeit the fact that it was pretty well presented with an in depth research on tesselation and structural considerations, the definition of flexibility regarding the open stage is rather vague. This has to be articulated in more details and justifications.

With the understanding obtained from Part B, the knowledge of tesselation and tensegrity should be proposed in relation to the design outcome and site response. Being site specific is also crucial in understanding the outcome of design that could contribute to the future society.

The tasks of such has stimulated the considerations of real-life architectural design.

Would it be practical? Would there be users engaging as the initial intention of design outcomes? Is it constructible and sustainable in a long term? With these questions to be adopted, the collaborative approach of technical understanding, cultural potentials and site response hence create an architectural discourse and design proposal that would be again, further developed in Part C.

The complexity in the approach of tesselation in the proposal should also be defined clearly. It is also suggested to continue the consideration of tensile wire that is rather interesting for a design outcome. Lastly, involving a response to existing objects (eg. bridge, pavilion, bench) on site would strengthen the connection to the site.

CRITERIA DESIGN | B.7 LEARNING OBJECTIVES AND OUTCOMES

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b.8 appendix The selected algorithmic sketches are dealing with the outcome of mathematical expression and graph mapper that provides a data tree of connections.

Thus, the list of points, are learnt to be capable of creating curves, surfaces and repetitive patterns. The use of kangaroo plug-in also aided my understanding in a physics simulation that could be used in form finding through relaxation.

It is important to note that in order to perform multiplications (or any other kinds of mathematical operators) , the definition of graft tree is ought to be input. The results of transformation are then flattened to create a continuous series of points.

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CRITERIA DESIGN | B.8 APPENDIX

The functio used to cul could be interesting organisatio

on of â&#x20AC;&#x2DC;ifâ&#x20AC;&#x2122; clause could be ll a list of pattern that then further developed into surfaces and spatial on of points.

This illustrate the definition of series of points that could be used to generate a primitive from functions.

Extrapolating the structural behavior and overall principles of spider webs, it is realised that Kangaroo could relax a pattern through unary force and spring.

CRITERIA DESIGN | B.8 APPENDIX

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PART C

DETAILED DESIGN 78

c.1 DESIGN CONCEPT With the collaboration with Lianchen Ng, Part C is an exploration of merging both the design proposal and digital techniques of our previous researches in Part B. ADDRESSING THE FEEDBACKS

“This came to the proposal of an open stage that could be used as an event organization space; but also has the flexibility of being a pavilion for the park on non-event days.” proposed design intention in Part B.

The design concept is remained unchanged, however, with the focus of an open event area that is multi-purpose. The design criteria of ‘flexibility’ that was previously criticised as a vague definition, would foresee an incorporation of a set of deployable space in this detailed design process. This would be done through two key design feature : modular and inflatable.

The installation which is modular and inflatable would hence be the design proposal to respond to the needs in selected site, Ceres Environmental Park.

DETAILED DESIGN | C.1 PROLOGUE

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SITE RESPONSE The community emphasized strongly on environmental sustainability. Occasions are frequently taken place in this area (Village Green, Ceres Enviromental Park).

Importantly, the stakeholders mentioned the need of resting and sitting area with the installation of lights for this open space. Responding to this, a space that is convenient in terms of light settings besides its event organizing purpose is highly required.

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DETAILED DESIGN | C.1 SITE RESPONSE

EXISTING PERFORMING AREA

VIEW FROM MERRI CREEK

EXISTING BENCHES

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SITE ANALYSIS The site is analysed in terms of : 1. VEGETATION 2. SUN PATH 3. CIRCULATION 4. FUNCTIONAL ZONING

PM AM

Existing vegetation is valued and would be put into the consideration of design.

This is to enhance the relationship between human objects and nature.

Sunpath is crucial in layouting the installation. The glare caused by sunset from the viewers’ perspective would be highly avoided as it would cause discomfort.

The circulation to the chosen site boundary allows freedom.

Users are not prompted to only use a certain pathway. The design would hence implement an ‘open entrance’ approach.

Thus, the generation of form finding is done with a review in reflecting the characteristics of site as above. The consideration of the 3-dimension form is first neglected, with an initial emphasis only in its form boundary in plan view (as diagram on the right).

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DETAILED DESIGN | C.1 SITE ANALYSIS

SEATS

LIGHTING ALONG THE CURVE SEATS

VIEW TOWARDS MERRI CREEK

Functional zoning is done to the site with these few aspects : view towards Merri Creek, performance space and light installation.

LIGHTING INSTALLATION PERFORMING AREA

BACKDROP

FINAL FORM BOUNDARY FROM MERGING ALL FUNCTIONAL ZONES

DETAILED DESIGN | C.1 SITE ANALYSIS

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design concept The design would be informed with the consideration of flexibility, sound amplification value and lighting installation. To realize this conceptualization, the technique of SPHERE PACKING is introduced.

VARIETY OF SOUND FREQUENCY

SPATIAL PLANNING OF LIGHTINGS

VARIETY OF SPHERE SIZES

CONCEPTUAL FORM STRUCTURE

WHY SPHERES? Previous research on TESSELATION have inspired the idea of panelling the overall structure with qualities that would response to both the concern of sound and light. Spheres are chosen as the mediums largely because of their hollow volume. The frequency that are produced in this gap within, resonates with the frequency of sound performance.

This would indirectly lead to an amplification of sound.

Various sizes of spheres would then resonate with the various frequency of sound produced in an event. Furthermore, lights could be installed within this volume of spheres. They would serve to enhance the visibility of the area, particularly at night.

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DETAILED DESIGN | C.1 DESIGN CONCEPT

PROPERTIES OF A COLLECTION OF SPHERES Sound reflected on curved form would end up being targeted at a focal point. In order to evenly distribute this projection, anti-focusing surface is thus required. In this case, spheres are acting as an antifocusing surface. As the conceptual form of the backdrop would be slightly curved, spheres would aid the sound projected from the form with an even dispersion.

CURVED FORM

ANTI-FOCUSING SURFACE

SPHERE PACKING The approach of BIOMIMICRY stimulated the idea of sphere packing. To achieve the concept of being modular, each sphere resembles individual atom of a variety of sizes. These atoms would then form a ‘molecule’ - the bigger structural form, through bonding and collision.

ARRANGEMENT AND CONNECTION OF NON-OVERLAPPING SPHERES

It is also interesting to note that sphere packing would response highly to flexibility. The arrangement of the spheres is not defined as to producing a fixed form. In fact, these modular spheres are open to various options of bonding and collision due to their difference in sizes. These modular spheres would allow the creation of interchangeable forms.

DETAILED DESIGN | C.1 DESIGN CONCEPT

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design technique TESSELATION + BIOMIMICRY || INFLATABLE + MODULAR CONSTRAINTS OF PREVIOUS TECHNIQUE The technique of box morphing panels onto a meshed surface in Part B is refined with the definition of sphere packing optimization. There are restraints with the previous definition as panels could only be tesselated onto a surface with a defined grid and mesh system. The size of panels is also equal, inhibiting the opportunity to incorporate different sizes of spheres as panels.

TRIANGULAR MESH

SPHERE PACKING WITHIN MESH (abandoned approach)

PACKING WITHIN DELAUNAY MESH

PACKING OPTIMIZATION

(selected approach)

TECHNIQUE REFINEMENT From the final form boundary through merging all functional zones, surface patch is done before meshing the surface. The mesh is then refined with triangular mesh for even distributed mesh pattern. Spheres are packed in a delaunay format to minimize gaps among the spheres.

“Thus, the generation of form finding is done with a review in reflecting the characteristics of site as above.

The consideration of the 3-dimension form is first neglected, with an initial emphasis only in its form boundary in plan view. “ described in ‘Site Analysis’ p.82.

The mesh is inflated with several constrain points and curves with the aid of Kangaroo physics simulation and Smartform.

This is the process when only 3-dimension form emerged.

Structural feasibility and its functional purpose are considered in this form finding process.

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DETAILED DESIGN | C.1 DESIGN TECHNIQUE

FORM BOUNDARY

FORM FINDING PROCESS OF GENERATING INTERCHANGEABLE ARRANGEMENTS Different constrain points and curves of the form boundary are anchored in this form finding process. (as shown at the top left of each meshed surface).

FORM OPTION1 : An installation with a rather enclosed backdrop with limited circulation due to anchored spheres.

FORM OPTION 2 : An installation with an enclosed shelter and more anchored spheres that allow less movement in the event of windy days.

FORM OPTION 3 : The chosen constrain curves for the spatial planning of anchored spheres. An installation with a high backdrop, allowing the opportunity of sound amplification value and open performance area during an event.

DETAILED DESIGN | C.1 DESIGN TECHNIQUE

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FLEXIBILITY OF FORM As mentioned earlier in ‘Design Concept’ p.89, the biomimic feature of these modular spheres allow the flexibility of sphere arrangement. Once the structure is installed on site, one could realize the possibility of movement of the form with an addition of wind consideration. The backdrop of the overall form has the largest tendency of movement due to this wind pressure. This therefore, creates the opportunity of returning to the idea of interchangeable forms, although the selected constrain curves are chosen in the form finding process.

MODULAR + INFLATABLE + WIND = FLEXIBILITY

DIRECTION OF WIND PRESSURE TOWARDS THE MODULAR SPHERES

MOVEMENT ASSUMPTIONS OF THE BACKDROP OF INSTALLED MODULAR ELEMENTS

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DETAILED DESIGN | C.1 DESIGN TECHNIQUE

MESH SURFACE

SURFACE PATCH

FORM FINDING

TRIANGULATE MESH

SPHERE PACKING

WORKFLOW DIAGRAM OF DESIGN DEFINITION

DETAILED DESIGN | C.1 DESIGN TECHNIQUE

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construction system

CONSTRUCTION JOINTS

PERMANENT ANCHOR

MODULAR SPH (TOP VIEW)

1 CONSTRUCTION JOINTS Joints have to be created in order to connect the modular spheres together. These construction joints are defined through the vertices point of each intersection of spheres.

2 PERMANENT ANCHOR Spliting the spheres that are intersecting with the ground creates hemispheres that would sit on the landscape. These hemispheres act as the permanent anchor to hold the structure. Lights are installed within these polycarbonate permanent anchors.

3 MODULAR SPHERES (TOP VIEW) The spheres would be inflatables made from vinyl. This allow the convenience of storage capacity when these modules are not installed for event purposes.

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DETAILED DESIGN | C.1 CONSTRUCTION SYSTEM

HERE

OVERALL INSTALLATION

MODULAR SPHERE (INFLATED)

4 OVERALL INSTALLATION As illustrated in the diagram, shaded spheres are the permanent anchors on site. These anchors would be fixed and remained on site in the absence of events. The spheres that act as anchors are casted on top of concrete slabs (as illustrated on the fifth diagram). Modular inflatables (the ones in white) are joined together to form the overall structure when its purpose is needed.

5 MODULAR SPHERES (INFLATED) The modular spheres are interdependent to each other to uphold the structural form. Helium gas is pumped into each spheres in order to achieve a lightweight structure that would be highly dependent on wind direction and each joints connection.

DETAILED DESIGN | C.1 CONSTRUCTION SYSTEM

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c.2 TECTONIC ELEMENTS & PROTOTYPES Experimentation regarding the idea of sphere packing, inflatables and structural feasibility is assessed.

Prototyping critical elements of the model is crucial to examine its feasibility in terms of material, cost and targeted effects.

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conceptual prototype TESTING OF EFFECTS Plastic balloons are tested as a representation of the vinyl inflatables. The plastic balloons, although were not pictured as perfect spheres, created the possibility to test the effects of the design proposal. The effect portrayed through each transparent spheres is discovered to bring out several design aesthetics.

Shadows casted from the spheres created an interesting reflection on the ground. The quality of camouflage is also observed to provide the opportunity to merge into the landscape, due to its transparency.

DETAILED DESIGN | C.2 CONCEPTUAL PROTOTYPE

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core construction element

JOINT IDENTIFICATION

UNROLLED PANELS

NON-DEVELOPABLE SPHERES TO DEVELOPABLE SPHERES (INFLATABLES) 1. Spheres that are not permanent anchors are categorized to be further developed as inflatables. Each spheres are divided into a UV grid of 8x8. With the assistance of plug-in - EvoluteTools D.LOFT, 8 pieces of panels are unrolled and identified from each lofted spheres.

2. As mentioned earlier, construction joints are defined through the vertices point of each intersection of spheres. These vertices act as identifiers. An extruded flat strip is then placed at each construction joints, generating connection joints that could be connected to another inflated sphere with snap fasteners.

THE PERMANENT ANCHORS 1. Permanent anchors that are made from polycarbonate would be prefabricated from 3D moulds as their formworks.

2. Also, with the vertices point as identifiers, holes are drilled through these anchors. Nuts are attached permanently in the inner part of the surfaces.

3. Spotlights are first fixed on particular planned location on site, with these prefabricated anchors capping over on the ground.

4. The inflated spheres are connected to these anchors with bolts, screwed into the identified holes.

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DETAILED DESIGN | C.2 CORE CONSTRUCTION ELEMENT

BOLT & NUT

SNAP FASTENERS

DETAILED DESIGN | C.2 CORE CONSTRUCTION ELEMENT

95

MAKING THE INFLATABLES

As vinyl could not be cut using laser cut or CNC Router due to its toxic release, panels were printed as tracing references and used to cut the vinyl into specified panels. Border offsets were considered for connection purpose.

These unrolled panels are then joined with the test of several methods : (A) SEWING Using transparent fishing line to sew each panels provide a rigid tensional force between the panels. However, sewing results in many tiny pores on the vinyl. These pores are ought to be sealed later in order to prevent air leakage. The process is tedious, hence sewing was not preferable.

(B) HEAT SEALING Using a heat sealer to seal the vinyl is a good choice for aesthetic outcome. The panelled sphere appeared to have a clean touch. Nevertheless, there is a high tendency of panel breaking when the sphere is inflated.

(C) CANDLE MELTING Candle melting is a better preference as compared to heat sealing despite the slight presence of burn stains.

There is a rigid tensional force between the panels, minimizing the chance of air leaking.

Candle melting was chosen as the method to proceed with the inflatables. The offsets were folded twice to create double layer of sealed connection. Air valves are installed within the panelled sphere with thermal glue. The spheres are then inflated with helium gas using an air pump. Final cellophane taping and thermal gluing is done to the fine pores found on the inflatables. Snap fasteners are then sewed onto the flat strips at each intersecting vertices to connect each spheres together.

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DETAILED DESIGN | C.2 MAKING THE INFLATABLES

INFLATABLE SPHERES SCALE : 1:10

DETAILED DESIGN | C.2 MAKING THE INFLATABLES

97

98

c.3 FINAL DETAIL MODEL INMOD (INFLATABLE + MODULAR) SCALE : 1:50

99

3D printed, the models present the visualization of the design proposal. Transparency is not exactly portrayed due to the use of crystal clear filament. Nevertheless, one was done with the installation of modular spheres and light settings, and another with only the permanent anchors on site.

INMOD (PERMANENT ANCHORS) SCALE : 1:50

100

The model is split into five segments due to the limitation of size that could be produced by the selected 3D printer, UPPlus2. Shell method was chosen as the option to print the model.

DETAILED DESIGN | C.3 FINAL MODELS

101

EAST ELEVATION

NORTH ELEVATION

SOUTH ELEVATION

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DETAILED DESIGN | C.3 ELEVATIONS AND PLANS

WEST ELEVATION

PLAN OF PERMANENT ANCHORS

PLAN OF OVERALL STRUCTURE

DETAILED DESIGN | C.3 ELEVATIONS AND PLANS

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DAY RENDER OF IN.MOD

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DETAILED DESIGN | C.3 VISUAL RENDERINGS

NIGHT RENDER OF IN.MOD

DETAILED DESIGN | C.3 VISUAL RENDERINGS

105

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c.4 learning objectives and outcomes FURTHER DEVELOPMENT There was a suggestion during the crit session where the design proposal could be taken further to investigate an urban area. Expanding the boundary to a certain stretch of Merri Creek could possibly lead to an interesting pattern of modular sphere placement on the site. The spatial planning of light installment and permanent anchors along this boundary (as illustrated below) might result in a â&#x20AC;&#x153;safety lightâ&#x20AC;? and track identifier for people who jog or cycle along the creek during the night.

DETAILED DESIGN | C.4 FURTHER DEVELOPMENT

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CONCLUSION A steep learning curve.

The process towards the end of the semester has been very challenging yet rewarding. To come out with a design proposal that utilise design computation and digital fabrication, one should not be limited by the drive or perhaps, the fear of technology. The multilayered research and consideration in the design process is crucial in producing potential strategies of presenting its architecture.

The ability to generate a variety of design possibilities have been highly enhanced with the knowledge of digital technology and algorithmic techniques learnt in the weeks. The process was definitely not linear, as there were many different inputs that influenced the design.

These inputs are mainly due to materiality and practicality. For instance, in my case, it was the consideration of seasonal wind, acoustic value and durability of material.

Studying case studies and precedent examples provide the opportunity to visualize the outcome of the final design project. It is important to be reminded that the intentions behind the design proposal have to be always be related to the phyiscal architectural outcome. This is one of the challenging fine line between conceptual ideas and architectural impact.

I am indeed much satisfied with the detailed development in Part C in which I wanted to achieve during the weeks dealing with Part B. Technique was rather unclear with a slightly clueless direction during that period.

Computational techniques that Lianchen and I merged together to create a proposal in Part C has definitely affected my critical thinking towards the discourse of architecture.

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DETAILED DESIGN | C.4 CONCLUSION

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REFERENCES TEXT (PART A) 1. ArchDaily (2011) “‘La Fabrique Sonore’ Exhibition / Hyoung-Gul Kook, Ali Momeni and Robin Meier” <http://www.archdaily.com/?p=191889> [accessed 18 March 2015] 2. ArchDaily (2012) Higher Atlas / Barkow Leibinger Architects <http://www.archdaily.com/?p=245728> [accessed 18 Mar 2015] 3. Arc Space, Rolex Learning Center <http://www.arcspace.com/features/sanaa/rolex-learning-center/> [accessed 11 March 2015] 4. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London : MIT Press) p.11.

5. Designboom, SANAA: Rolex Learning Center <http://www.designboom.com/architecture/sanaa-rolex-learning-center/> [accessed 12 March 2015] 6. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp6-35.

7. Dutton, Thomas A. and Lian Hurst Mann,eds (1996) Reconstructing Architecture: Critical Discourses and Social Practices (Minneapolis: University of Minnesota Press), p.1.

8. E-Architect, Rolex Learning Center Building <http://www.e-architect.co.uk/switzerland/rolex-learning-center> [accessed 11 March 2015] 9. E-Architect, The Eden Project, England <http://www.e-architect.co.uk/england/eden-project> [accessed 11 March 2015] 10. Exploration, The Eden Project Biomes <http://www.exploration-architecture.com/projects/the-eden-project-biomes> [accessed 11 March 2015] 11. Fabrikator, Synthetic Grain < http://blog.archpaper.com/2013/09/projectiones-faux-bois-pas/> [accessed 17 March 2015] 12. Fry, Tony (2008) Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp1-2.

13. Grimshaw, The Eden Project : The Biomes <http://grimshaw-architects.com/project/the-eden-project-the-biomes/> [accessed 10 March 2015].

14. Inhabitat, Barkow Leibinger’s Amazing ‘Loom-Hyperbolic’ Art Installation < http://inhabitat.com/barkow-leibinger-unveils-striking-loom-hyperbolic-art-installation-madefrom-local-natural-materials/loom-hyperbolic-by-barkow-leibinger/ > [accessed 18 Mar 2015] 15. Inhabitat - Sustainable Design Innovation, Eco Architecture, Green Building, Eden Project: Giant Bubble Biomes Form the World’s Largest Greenhouse The Eden Project <http://inhabitat.com/eden-project-giant-bubble-biomes-are-worlds-largest-greenhouse/eden-project-13/?extend=1> [accessed 11 March 2015].

16. Grozdanic, Lidija (2012) “La Fabrique Sonore” Acoustically Amplifies the Sound of Champagne Bubbles <http://www.evolo.us/architecture/la-fabrique-sonoreacoustically-amplifies-the-sound-of-champagne-bubbles/> [accessed 18 March 2015] 17. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA:MIT Press) p.3-11.

18. Kolarevic, Branko, “Architecture in the Digital Age: Design and Manufacturing”, p13.

19. Larsen, Olga & Tyas, Andy (2003) Conceptual Structural Design: Bridging the Gap Between Architects and Engineers (London : Thomas Telford) p.109.

20. Leach, Neil, ed., (1997) Rethinking Architecture: A Reader in Cultural Theory (London: Routledge), p,.xiii.

21. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York : Routledge) p.5.

22. Pearman, Hugh (2000) Equilibrium: The Work of Nicholas Grimshaw & Partners (London : Phaidon) p.116.

23. Peters, Brady (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, p.9.

24. Projectione, Synthetic Grain <http://www.projectione.com/synthetic-grain/> [accessed 17 March 2015] 25. Terzidis, Kostas (2006), Algorithmic Architecture (Boston, MA:Elsevier), p.xi.

26. The Brits who built the Modern World : Eden Project <http://www.architecture.com/Explore/Buildings/EdenProject.aspx> [accessed 11 March 2015].

27. ThinkParametric, Synthetic Grain by Projectione < http://designplaygrounds.com/deviants/synthetic-grain-by-projectione/> [accessed 17 March 2015] 28. Rose, Steve, Bubble vision <http://www.theguardian.com/artanddesign/2007/oct/12/architecture2> [accessed 10 March 2015] 29. William J.R. Curtis. (1996) Modern Architecture Since 1990, Ch.6, “Responses to Mechanization : the Deutscher Werkbund and Futurism” (London: Phaidon) pp.99-111.

(PART B) 1. Aish and Woodbury (2005), The Challenges of Parametric Modeling, <http://www.danieldavis.com/thesis-ch2/>, p.152.

2. Davis, Daniel (2013) FabPod <http://www.danieldavis.com/fabpod/> [accessed 14 April 2015].

3. Geometry Adventure : Tesselation and Mosaics <http://www.scientiareview.org/pdfs/205.pdf> [accessed 10 April 2015].

4. Grozdanic, Lidija (2011) VoltaDom Installation / Skylar Tibbits + SJET Adventure : Tesselation and Mosaics <http://www.evolo.us/architecture/voltadom-installation-skylar-tibbits-sjet/> [accessed 18 April 2015].

5. HerzogdeMeuron, Ornament, Structure, Space <https://www.herzogdemeuron.com/index/practice/writings/conversations/chevrier-en.html> [accessed 18 April 2015].

6. Jahn, Gwyllim (2015), Lecture on Parametric Modeling, (Melbourne : University of Melbourne) 7. Iwamato, Lisa (2009), Digital Fabrication: Architectural and Material Techniques, (New York: Princeton University Press), pp.42-56.

8. Loos, Adolf (1908), Ornament und Verbrechen..

9. MMX Studio, FNO Pavilion < http://www.mmx.com.mx/?lang=en&p=126 > [accessed 14 April 2015].

10. Moussavi, Farshid and Michael Kubo, eds (2006), The Function of Ornament (Barcelona: Actar) p.8.

11. NDT Resource Centre, Reflection of Sound < https://www.nde-ed.org/EducationResources/HighSchool/Sound/reflection.htm> [accessed 30 April 2015] 12. Ninety Nine Failures | Digital Fabrication Lab Pavilion <http://architype.org/project/ninety-nine-failures-digital-fabrication-lab-pavilion/#sthash.bSvUQILE. dpuf> [accessed 18 April 2015].

13. Peters, Brady (2013), Realising the Architectural Intent: Computation at Herzog & De Meuron, Architectural Design, 83,2 p.60.

14. Polo, Zaera (2009) Patterns, Fabrics, Prototypes, Tessellations (Architectural Design) p.23.

15. RMIT (2012) FabPod < http://www.sial.rmit.edu.au/portfolio/fabpod-sial/> [accessed 14 April 2015].

16. The Architectural League (2012) League Prize 2012: Emmanuel Ramirez and Diego Ricalde, MMX Studio (lecture) < https://www.youtube.com/watch?v=4eJGWElfHf0 > [accessed 13 April 2015].

17. ThinkParametric, FabPod - RMIT Design Hub < http://designplaygrounds.com/deviants/fabpod-rmit-design-hub/> [accessed 14 April 2015].

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REFERENCES

IMAGES (PART A) 1.1 http://grimshaw-architects.com/project/the-eden-project-the-biomes/ 1.2 http://www.architecture.com/Explore/Buildings/EdenProject.aspx 1.3 http://travel.nationalgeographic.com/travel/365-photos/eden-project-england/ 1.4 http://tedvn.com/2013/04/michael-pawlyn-ung-dung-tai-nang-cua-thien-nhien-vao-kien-truc/ 2.1 http://divisare.com/projects/125763-Kazuyo-Sejima-Ryue-Nishizawa-SANAA-Rolex-Learning-Centre-EPFL-Lausanne/ 2.2 http://divisare.com/projects/125763-Kazuyo-Sejima-Ryue-Nishizawa-SANAA-Rolex-Learning-Centre-EPFL-Lausanne/ 2.3 http://divisare.com/projects/125763-Kazuyo-Sejima-Ryue-Nishizawa-SANAA-Rolex-Learning-Centre-EPFL-Lausanne/ 2.4 http://divisare.com/projects/125763-Kazuyo-Sejima-Ryue-Nishizawa-SANAA-Rolex-Learning-Centre-EPFL-Lausanne / 2.5 http://divisare.com/projects/125763-Kazuyo-Sejima-Ryue-Nishizawa-SANAA-Rolex-Learning-Centre-EPFL-Lausanne / 3.1 http://www.projectione.com/synthetic-grain/ 3.2 http://www.projectione.com/synthetic-grain/ 3.3 http://www.projectione.com/synthetic-grain/ 4.1 http://www.evolo.us/architecture/la-fabrique-sonore-acoustically-amplifies-the-sound-of-champagne-bubbles/ 4.2 http://www.evolo.us/architecture/la-fabrique-sonore-acoustically-amplifies-the-sound-of-champagne-bubbles/ 4.3 http://www.evolo.us/architecture/la-fabrique-sonore-acoustically-amplifies-the-sound-of-champagne-bubbles/ 5.1 http://www.formakers.eu/project-1213-frank-barkow-loom-hyperbolic 5.2 http://www.archdaily.com/245728/higher-atlas-barkow-leibinger-architects/ 5.3 http://www.archdaily.com/245728/higher-atlas-barkow-leibinger-architects/ 5.4 http://www.archdaily.com/245728/higher-atlas-barkow-leibinger-architects/ 6.1 http://archiplanet.ru/2014/01/torgovyj-centr-emporia/ 6.2 http://www.dezeen.com/2013/09/27/emporia-shopping-centre-in-malmo-by-wingardhs/ 6.3 http://www.dezeen.com/2013/09/27/emporia-shopping-centre-in-malmo-by-wingardhs/ 6.4 http://www.dezeen.com/2013/09/27/emporia-shopping-centre-in-malmo-by-wingardhs/ (PART B) 1.1 http://www.danieldavis.com/fabpod/ 1.2 http://www.danieldavis.com/fabpod/ 1.3 http://www.danieldavis.com/fabpod/ 2.1 http://www.mmx.com.mx/?lang=en&p=126 2.2 http://www.mmx.com.mx/?lang=en&p=126 2.3 http://www.mmx.com.mx/?lang=en&p=126 3.1 https://www.flickr.com/photos/acidgalore/5705657144/ 4.1 http://www.domusweb.it/en/architecture/2014/01/07/99_failures_and_onepavilion.html 5.1 http://www.ceres.org.au/venue-hire/venuehire.html

REFERENCES

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KERYN LIEW 2015 SEMESTER 1