Studio Air Journal by Lian Chen Ng

STUDIO AIR J

2 015 , S E M E S T E R 1, L I A N C H E N N G

4 I N T R O D U C T I O N 6 PA R T A C O N C E P T UA L I S AT I O N 7 A. 1 DESIGN FUTURING 13 A. 2 DESIGN COMPUTATION 19 A. 3 COMPOSITION/ GENERATION 25 A. 4 CONCLUSION 25 A. 5 LEARNING OUTCOMES 26 A.6 APPENDIX - ALGORITHMIC SKETCHES 30 REFERENCES 3 2 PA R T B C R I T E R I A D E S I G N 32 B. 1 RESEARCH FIELD 38 B. 2 CASE STUDY 1.0 44

B. 3 REVERSE ENGINEERING

B. 4 TECHNIQUE DEVELOPMENTS

B. 5 PROTOTYPES

B. 6 PROPOSAL

B. 7 LEARNING OBJECTIVES & OUTCOMES

B. 8 APPENDIX - ALGORITHMIC SKETCHES

REFERENCES

7 8 PA R T C D E TA I L E D D E S I G N 79 C. 1 DESIGN CONCEPT 87 C. 2 TECTONIC ELEMENTS & PROTOTYPES 95 C. 3 FINAL MODEL 103 B. 7 LEARNING OBJECTIVES & OUTCOMES

INTRODUCTION Hi, my name is Lian Chen Ng, currently in my third year of Bachelor of Environments and majoring in architecture at the University of Melbounrne. I’m Malaysian born, grew up in Sabah which also known as ‘The Land Below the Wind’, on the northern east of the Borneo Island. My design interests started to evoke since I was in high school. As I was assigned as one of the class ‘designer’, I was in charged in almost everything related to ideas and creation works, such as setting up academic board, class decoration competition and education exhibition. I always feel a great sense of satisfaction after completing the tasks. And that excitements have inspired me to do design related course in university.

So far, I’m still developing my skills in all kinds of modelling software and other graphic design programs such as Adobe Suite. Through the participation in Air Studio, I started to pick up some grasshopper tutorials and tried out new commands to explore various interesting possibilities. Above all, I’m looking forward to take the challenge to explore parametric modelling and its significance place in architetural discourse throughout this subject.

However, I wasn’t planned to do architecture in the beginning of my semester. I chose landscape architecture because I was highly anticipated in outdoor areas design and environmental aesthetic at that time. It was only until I came up to the realisation that I want to open up my options to various design fields instead of just dealing with landscape, so I switched to major in architecture. My first experience with digital design happened to be in my first studio - Virtual Environments in 2013. Since then, I was introduced to significance of digital tools in current architectural practice. We were taught to use Rhino to do digitisation of physical model and explore different spatial effects using panelling tools plugin (Figure 1.1). Besides that, we were also lucky to be given the opportunities to operate paper cutter machine for model fabrication. Thanks to the advance technology, we were able to produce our model easily in more efficient way than doing it with both hands.

Fig.1 Model panelling, Virtual Environments 2013, Paper Lantern inspired by pattern of nature.

PART A CONCEPTUALISATION

DESIGN FUTURING According to Fry in â&#x20AC;&#x2DC;Design Futuringâ&#x20AC;&#x2122;, the only way to sustain our future is by design means in order to make a real difference. 1 Architecture, of course, as a design practice plays an important key role in contributing ideas and solutions to such transformative approach. However, the increasing number of environmental issues has exceeded our capabilities even with the technology we had today. Perhaps our dreams for a desirable world have now downgraded to hope. 2 Thinking in optimistical way, I would say that we still have the potential to move towards if everyone awares of our own responsibilities and knows how to avoid destruction while putting in a new creation. In this respect, designers and architects as being the catalysts for change they require much more understanding on what to be mobilized for or against, that are appropriate with current technologies. Although many design ideas related to sustainability might have been proposed, not many of them were realized in reality due to various challenges. For instance, huge amount of cost often needed to invest for the required technology. For such case, I would say we can only continue to discover new methods and ideas until we manage to find a solution that we can finally dependent with. Even the probablity of changes are small, I believe the accumulation of knowledge from time to time definitely will guide us towards the correct path in making a huge difference that could promise our future. In the following pages, two relevant precedents will be discussed to explore various possibilities that could make a difference to our future.

Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), 1

Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press), 1

Lace Hill

Architect: Forrest Fulton Location: Yerevan, Armenia Status: 2010 Competition Entry

I found this project really intriguing with its biomorphic designs by Forrest Fulton Architecture, the Alabama-based firm. Rather than seeing it as a built form, I perceive it more like a plant mountain which covered 900,000 square feet biomorphic structural lattice that stiches the adjacent city and landscape. 3 I chose this as one of the case study because of it doesn’t look it a building. It is interesting that the architect came up with the ideas of creating a dense spatial fabric urban landscape that morph the hilly Yerevan landscape as a proposal for an ‘ultra-green multi-used complex’. Instead of putting a single tower on the hill which looks disconnected from its landscape, the truncated hill form associate well with the natural landscape of the site (FIG 2.1). Perhaps the most prominent features that attracted me to this project are the perforations and the clothed in native plants in the whole building. Although it wasn’t a built project, I could sense the stunning light effects from the interior as illustrated in the rendering image (FIG 2.3). The biomorphic perforations are not merely serve as aesthetic surface treatments, but also to provide amazing views. I guess it also helps to minimise destructive look on the natural landscape with its greenery planted on the exterior surface.

of this project are not merely for aesthetic reasons, they actually function as cooling towers to allow adequate diffuse light and cool breeze into the space. 4 During hot arid days, the towers serve as evaporative cooling mechanisms for the city below when the northern wind passes over its ponds. Similarly, the planted surfaces are designed to filter air and water borne toxins as well as to support the growth of flora and fauna. Another important concepts that many take for granted is the activities of every project has to be programmatically linked to the orientation of sun and site features. For instance, in this project, the planning of living spaces run along the south face of the hill to gain maximum sunlight. In the opposite, the offices are placed along the north face of the hill because only indirect sunlight is needed. Even though it is only a competition proposal, some of the theories and techniques elaborated here which I find very interesting can be significant for other projects as study model to expand various sustainable design possibilities in the future. The scheme especially on its ‘productive surface’ which offers the potential to integrate function, aesthetic and sustainable performance into a multi-used hybrid complex.

Some may argue large scale of plants on the building need high maintenance of cost which is the reason for many similar green buildings that often claimed to be impractical. However, I would argue that such issue no longer a big challenge as soon as the implementation of recycled grey water system for irrigation become highly available. I would say designers must always take both function and aesthetic into considerations during designing process to achieve a desirable outcome. For instance, the tower voids

Fig.2.1 Lace Hill’s overall rendering view

Cilento, Karen. Lace Hill / Forrest Fulton Architecture (04 May 2010) <http://www.archdaily.com/58797/lace-hill-forrest-fulton-architecture/> [accessed 16 March 2015].

Forrest Fulton Architecture, Lace Hill over Yerevan (27 April 2010) <http://forrestfulton.com/lace-hill-over-yerevan/> [accessed 16 March 2015].

“ Instead of shimmering glass, a growing productive surface.” “ Instead of a sealed building, open sun-drenched terraces.” “ Instead of a building that imports a fleeting image, a building that invests in performance, connectivity, and function.” - Forrest Fulton Architecture Fig.2.2 9 Lace Hill’s interior space rendering

Munich Olympic Stadium Architect: Frei Otto, Gunther Behnisch Location: Munich, Germany Status: Completed in1972

As our earth resources are becoming higly limited, at least one possible way that we can minimise the impacts in architecture is through the lightweight construction and technology means. The masterpiece of Frei Otto who is the pioneer in this modern field of sustainability is therefore to be discussed in depth as below. The Munich Olypmpic Stadium has an unsual innovative tent roof that covering 75,000 metre square. 5 It was the first lightweight structure that used mathematical calculations based on computational procedures to experiment the shape of the roof. 6 Some even could not believe such expansive lightweight structure can be realized during that time. Hence, I would argue that it is possible to actualized a sustainable future as long as we do not stop working on new methods and technology. The sweeping tensile structure actually was based on the rhythmic protusions of Swiss Alps that flow continuously over the site. The cloud-like roofs appear to be hovering over the site connecting all the main buildings with one continuous tensile surface. For such an expansive site, I would say such minimal structure is probably the most clever decision made by the architect. Not only it used less materials, the dynamic sweeping surfaces formed by the various tensile connections is incredibly beautiful. The arcylic panels shimmer under the sun and reflect the colour of the sky also the surrounding landscape on the roof. Such framework also provide openness and transparency to the stadium.

Although Otto was not as well known as other prominent architects, his designs have been very much influential on some famous architects works like Norman Foster and Zaha Hadid. Due to his sense of responsibility and the concern for the careful use of resources in his architecture, he managed to create innovative solutions not only to symbolise the modern architecture world, but also to solve humanity’s problem.

“My architecture is architecture of survival. To survive and also what we all are doing.” - Frei Otto

Fig.2.3 Munich Olympic Stadium’s section drawing

With the precisions of the design and the structure stability, the lines, form and the tensile structure appear as it was just built as in 1972 even after almost 40 years of completion.

Kroll, Andrew, AD Classics: Munich Olympic Stadium / Frei Otto & Gunther Behnisch (11 February 2011) <http://www.archdaily.com/109136/

ad-classics-munich-olympic-stadium-frei-otto-gunther-behnisch/> [accessed 16 March 2015]. 6

Wiki Arquitectura, Munich Olympic Stadium ( 20 December 2014) <http://en.wikiarquitectura.com/index.php/Munich_Olympic_Stadium> [accessed 16 March 2015].

Fig.2.4 Munich Olympic Stadiumâ&#x20AC;&#x2122;s aerial view Fig.2.3 11 Interior atmosphere of Lace Hill

DESIGN COMPUTATION “Computers are incredibly fast, accurate, and stupid; humans are incredibly slow, inaccurate and brilliant; together they are powerful beyond imagination.” This quote has been circulating around many websites and media wall quite a time. I guess because of this, it emerged a symbiotic relationship between computational and digital technologies that has been a huge impact in design and architecture practice. Before the inventions of computers, architects had little opportunities to explore complex forms and be able to determine the performance of design. As time and cost factors have been their biggest concerns, most of the design outcomes are based on the very initial stages of design process. However, with the growing capabilities in computational design technology, it gives a more flexible design systems that allow designers to deal with the increasing complex of design tasks. Based on the reading ‘Architecture in the Digital Age: Design and Manufacturing’ by Kolarevic, although highly variable and complex architecture are becoming possible with computer aided design (CAD), they are often constrained by the design and production cost hence seem to be inappropriate as traditional construction methods were mainly used. 7 However, I would argue that the use of digital computation as architectural practice has significantly changed in the past few years with the growing of potential new materials and more economical construction technologies. As material fabrication technologies are becoming highly available and advance, today’s digital architecture are not just to solve design problems but also encourage inventions and innovations. For instance, 3D printed building already successfully realized in China. To further this discussion, two digital designed precedents will be used to study their contemporary computational design techniques and fabrication as well as their benefits in architectural practice.

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), 3.

Smart Masonry

Architect: Dmytro Zhuikov, Arina Agieieva Location: Berlin, Germany Status: Master Thesis Project DIA Hochschule Anhalt

Masonry, as what we know is a heavy and massive type construction material that being used all the time. Throughout the history, minimising the mass for light penetration and air flow has been a significant challenge in designing such types of building. However, in this precedent, the architect is trying to take a new challenge to change masonry building into an incredibly light structure using digital fabrication techniques. According to Oxman in his ‘Theories of the Digital in Architecture’, the emerging of integrated simulation software plus the growing capability in modulating algorithm variability allows architect and engineer to study the structural performance of building that also link to its design form. 8 In this case, a resourceeffective technique called “positive casting’ was used to manipulte the building form and geometry according to its structural efficiency. 9 With digital optimisation technologies, it is able to minimise the dead weight of the structure and and produce unique geometries (FIG 3.1). Hence, the stress pattern on the masonry is optimized and materialized as load bearing pattern which results in minimal surface.

Fig.3.1 Digitisation

Instead of using conventional construction method, the Smart Masonry’s complex geometries is to be fabricated with the mix-used of 3D printing and robotic construction techniques as shown below (FIG 3.3). With such methods, the structure is more compact and labour-effective compared to those old construction techniques. Furthermore, only with such computerised production can ensure every element of the design is replicated in the same precision. I would say this project delivers new opportunities for digital fabrication in architecture not only use to improve construction efficiency, but also precision and cost of production.

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 4

Evan Rawn, Digitized Stone: ZAarchitects Develop “Smart Masonry” (13 March 2015) <http://www.archdaily.com/609108/digitized-bricks-zaarchitects-

develop-smart-masonry/?ad_medium=widget&ad_name=editors-choice&ad_content=609108> [accessed 16 March 2015].

Fig.3.2 Interior rendering of Smart Masonry

Fig.3.3 Robotic arm construction

Fig.3.4 Prototype model

Shell Star Pavilion Designer: Andrew Kudless / Matsys Location: Wan Chai, Hong Kong Status: Completed for Detour 2012

In this precedent, the parabolic shape and complex geometris of the structure somewhat shows the sigificance of digital computation especially for this kind of art work. Without computer programs, it is hardly imagine such project could be realized using traditional method. To celebrate the art and design festival in Hong Kong in 2012, the pavilion is served as a temporary iconic gathering place for the event. 10 In order to attract visitors, the designer achieve the goals by creating a spatial vortex that would make the visitors feel naturally drawn into the pavilion. Working with parametric modelling tools, the Sheel Star pavilion was developed quickly and efficiently just within six weeks of design process enabled by the advanced digital modelling techniques. Of course, this is also because of having a systematic design process as Kalay explained in ‘Architecture’s New Media’. 11 This project is broken down into three design processes: form-finding, surface optimization and fabrication planning. The lightweight shell form was inspired by Frei Otto and Antonio Guadi’s digital form-finding classic techniques, which minimize the structure and material while maximising its spatial performance. It is intesting to note that digital parametric tools such as Grasshopper and the Kangaroo plug-in can make the model self-organized into hanging thrust surfaces aligned with its structural vectors for minumum structural depths (FIG 3.1). Similarly in the surface optimisation process, approximately 1500 cells composed of the structure were optimized using custom Python script, to remove any intersecting seams lines and bend them into planar surfaces simply for easier fabrication. I would argue that only through digital design techniques can allow us to control form easily and quickly in such manner.

Fig.3.5 Form generation and optimisation

MATSYS, Shell Star Pavilion (27 February 2013) <http://matsysdesign.com/category/projects/shell-star-pavilion/> [accessed 18 March 2015].

Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 10-12

Fig.3.6 Overal view of Shell Star Pavilion

Fig.3.7 Shadows and light effects created from the shape and geometries

Fig.3.8 Shell Star Pavilion at night

COMPOSITION/ GENERATIVE In recent years, there has been a great deal of controvesy raised about the use of parametric design within the architectural discourse. Like all design techniques, parametric approach has both advantages and disadvantages. As parametric is a design process that based on the results of algorithms sets that defined by the user, it requires us to think algorithmically by inputting set of instructions that computer can understand as a code in order for it to work. It can be a daunting task to establish all the relationships within the parametric system at the beginning. It also depends on the ability and willingness of the designer to consider the relationship-definition as the part of the design process. 12 Hence, as Brady claimed in ‘Computation Works’ , if only we have expertised in algorithms concepts, then it can become a true design practice in architecture. 13 The underlying principle of parametric is the connnectivity and relationship between each design components. This implies that designer may alter the values or equation that form the relationship between the elements and visualise direct changes that incorporated into the system which become extremely useful for high complexity and large scale projects. Due to the compressed timescales of current construction, there is an increasing shift from composition to generative or computational achitecture approach. With such changes, computational is said to had huge impact on how we build and the produced outcomes. Unlike in those old times, computers are only as medium of representation. The increasing simulation capabilities allow us to utilize computation to generate form and analyse building performance in terms of materials, structural and environmental in a more accurate and precise way. Furthermore, many designers started to script programs to customise their design environment, sometimes even go beyond their intellect and generate unexpected results. Nonetheless, computation also has its shortcomings by losing its intrinsic value as it becoming mainstream and common in the digital age of fabrication. To further this discussion, two precedents will be analysed, in the following pages, on their benefits and disadvantages in architectural discourse.

Dunn, Nick. (2012). Digital fabrication in architecture. Laurence King, 54.

Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, p 12.

Endesa World Fab Condenser Architect: MARGEN-LAB Location: Barcelona, Spain Status: Completed in 2014

Served as a thermodynamic prototype, this bioclimatic dome is chosen to study how parametric design and digital fabrication influence in architectural practice to incorporate passive climate strategies. As said before in the previous page, the growing understanding of algorithm concepts has propelled many designers to started to use scripting languages to customize their design environments. For this case, the entire pavilion which composed of 20 triangular modules, is produced under an algorithm script that designed in two months. 14 Although each of the components are different but they all actually share the same formal constructive logic as they are generated under a set of rules. The good thing about parametric design is it allows us to produce various working geometric complexity and variability in a very short time as long as the mathematical logic is valid and developable. In addition with the aid of digital fabrication, the production and construction processes are also accelerated.

Fig.4.1 Thermal perfomance analysis with parametric software

One major concern arise in parametric architecture is due to the becoming zero tolerance digital fabrication. Although its accuracy and efficiency has been a great achievement, the high assessible to such mainstream tools sometimes misleading one to use it to achieve digital brilliance instead of architectural intelligent. However, in this project, parametric is utilized as a performative design tool for architectural brilliance. Parametric tools allow the designer to modify the form in response to environmental conditions based on the instance feedback on the performance of the model at various stages (FIG 4.1), To illustrate, an original icosahedron is deformed to minimize solar radiation in the summer and the skin was designed to maximise natural-artificial ventilation (FIG 4.2).

Fig.4.2 Icosahedron deformed under thermodynamic criteria

Endesa World Fab Condenser / MARGEN-LAB (24 September 2014) <http://www.archdaily.com/549830/endesa-world-fab-condenser-margen-lab/> [accessed 18 March 2015].

Fig.4.3 Interior of the pavilion

London Aquatics Centre Architect: Zaha Hadid Architects Location: London, England Status: Completed in 2011

The London Aquatics Centre which completed in 2011 for London Olympics is an example of realized project that demonstrate the use of computational architecture. The curving forms, elongated structure with fragmented geometry of the building is the signature of the architect, Zaha Hadid. Certainly, the construction of such large scale form with complex surface topology would not been possibile without computational design. Using parametric design tools, it allowed the architect to generate a continous undulating roof which based on the concept of the fluid geometry of water in motion. 15 Despites the popularity of its powerful parametrically digitized forms, it also has been heavily critized in architectural discourse. It is enough to say a building a parametric design just because it was generated using parametric software? If not, what parametric architecture could means for us ? This building may have be tested for its fluid structural perfomance, however, it is doubtful to suggest if the building is analysed in response to its site context. Hence, this is another increasing concern for parametric architecture as many tend to use it for aesthetic achievement instead for an intelligent architecture. As Brady mentioned in his ‘Computation Works’, parametric is supposingly to be utilized not only for form synthesis but also to predict environmental response of the design as sustainable architecture. 16

Fig.4.4 London Aquatics Centre

London Aquatics Centre for 2012 Summer Olympics / Zaha Hadid Architects (18 August 2011) <http://www.archdaily.com/161116/

london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-architects/> [accessed 19 March 2015]. 16

Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp 15.

CONCLUSION Architecture, as a design practice, perhaps has the grandest influence to culture, social and environment through the realized works. The emerging of digital tools has significantly changed the way we think and the design process we use, which eventually give an huge impact on the delivery of the outcomes. Not only with its potential to generate various non-standard geometry forms but also its benefits as a highly accurate simulation tool to analyse the performance of a building in response to the site and climate. Although many has forgotten to utilize digital parametric as simulation tool, it is essentially a neccessary design process in order to create sustainable architecture. At least, by doing this, we can minimise our impact as we cannot recover what we had damaged. To create a living architecture is also meaning to link our culture, social and nature through an integrated system. Hence, my design intention is to create an interactive system that is effective for us to move towards a sustainable future with parametric approach.

LEARNING OUTCOMES It is quite hard to grasp what computational actuallly means in architecture design at the beginning due to the many new concepts and ideas that related to it. For instance, computerisation and computational, these two terms which have very different meaning can be quite confusing at the same time. After learning some theories and design precedents, it is becoming clear what are the potentials and values of computation in architectural practice. It is understand that parametric design requires algorithmic thinking that set procedures for computers to work out various potential solutions for us. Learning to both its advantages and shortcomings through precedents research, it is clear that parametric is not merely to represent digital aesthetic, but to generate a brand new intellignet architecture that is structural, material and environmental responsive.

APPENDIX - ALGORITHMIC SKETCHES PAVILION / INSTALLATION

Learning Outcomes: Among all of the components that I have been exploring, I find the ‘catenary’ is the most interesting one so far. This hanging chain method seems very similar to one of the research precedents Shell Star Pavilion, although a different method of plug in Kangaroo was used. This exercise definitely helps my understanding how those components work together after went through a series of trial and errors. Also, I get to learn more new components while trying to solve the problems.

Commands: Divide Curve - Evaluate Curve - Catenary - Distance - Loft True Boolean - Split List - Flip Curve A base ‘s’ curve is referenced from rhino then set it as a varying attractor with the Evaluate Curve component within a parameter. Two curves (small and big) are referenced from rhino to be divide into equal length of segments with Divide Curve command. Catenary component is used to make catenary chains from the points on smaller curve to the points on the bigger curve. Then a length input (distance) for the catenary is needed for it to fully work, so the distance form the base curve to either one of the curves is computed using Distand command. In order to make a full complete loft for the catenary, loft options is used to set a true boolean surface. As the loft comes out entangled flipping the profile, split list operation is used to flip the curve as correction. 4 different surface variations are then created by changing the parameter of the varaying attractor.

PAVILION / INSTALLATION + WEAVERBRID

Learning Outcomes: I would say Weaverbird is a useful component for fabrication especially those with cardboards or steels. Besides it is very easy to be used with its sub components, the procedure is simple and allow us to discretize a surface into mesh in very short amount of time. Perhaps it also can be used to study the structure of a complex geometry through its mesh frame function.

Commands: Weaverbird’s Picture Frame - Weaverbird’s Mesh Thicken To fabricate a potential surface, Weaverbird Picture Frame and mesh brep components are used to discretize the loft into a mesh. Then, using Weaverbird’s Mesh Thicken to give the mesh a thickness then to adjust the edge of the mesh from the custom mesh settings.

REFERENCES BIBLIOGRAPHY Cilento, Karen. Lace Hill / Forrest Fulton Architecture (04 May 2010) <http://www.archdaily.com/58797/lace-hill-forrest-fulton-architecture/> [accessed 16 March 2015]. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 Dunn, Nick. (2012). Digital fabrication in architecture. Laurence King, 54. Endesa World Fab Condenser / MARGEN-LAB (24 September 2014) <http://www.archdaily. com/549830/endesa-world-fab-condenser-margen-lab/> [accessed 18 March 2015]. Evan Rawn, Digitized Stone: ZAarchitects Develop “Smart Masonry” (13 March 2015) <http://www.archdaily.com/609108/digitized-brickszaarchitects-develop-smart-masonry/?ad_medium=widget&ad_name=editors-choice&ad_content=609108> [accessed 16 March 2015]. Forrest Fulton Architecture, Lace Hill over Yerevan (27 April 2010) <http://forrestfulton.com/lace-hill-over-yerevan/> [accessed 16 March 2015]. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and associates, pp 1 - 42 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Kroll, Andrew, AD Classics: Munich Olympic Stadium / Frei Otto & Gunther Behnisch (11 February 2011) <http://www.archdaily.com/109136/ ad-classics-munich-olympic-stadium-frei-otto-gunther-behnisch/> [accessed 16 March 2015]. London Aquatics Centre for 2012 Summer Olympics / Zaha Hadid Architects (18 August 2011) <http://www.archdaily. com/161116/london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-architects/> [accessed 19 March 2015]. MATSYS, Shell Star Pavilion (27 February 2013) <http://matsysdesign.com/category/ projects/shell-star-pavilion/> [accessed 18 March 2015]. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Wiki Arquitectura, Munich Olympic Stadium ( 20 December 2014) <http://en.wikiarquitectura. com/index.php/Munich_Olympic_Stadium> [accessed 16 March 2015].

IMAGES <Fig 2.1, Fig 2.2> Cilento, Karen. Lace Hill / Forrest Fulton Architecture (04 May 2010) <http://www.archdaily.com/58797/lace-hill-forrestfulton-architecture/> [accessed 16 March 2015]. <Fig 4.1, Fig 4.2, Fig 4.3> Fig Endesa World Fab Condenser / MARGEN-LAB (24 September 2014) <http://www. archdaily.com/549830/endesa-world-fab-condenser-margen-lab/> [accessed 18 March 2015]. <Fig 3.1, Fig 3.2, Fig 3.3, Fig 3.4> Evan Rawn, Digitized Stone: ZAarchitects Develop â&#x20AC;&#x153;Smart Masonryâ&#x20AC;? (13 March 2015) <http://www.archdaily. com/609108/digitized-bricks-zaarchitects-develop-smart-masonry/?ad_medium=widget&ad_name=editors-choice&ad_content=609108> [accessed 16 March 2015]. <Fig 2.3, Fig 2.4 > Kroll, Andrew, AD Classics: Munich Olympic Stadium / Frei Otto & Gunther Behnisch (11 February 2011) <http://www. archdaily.com/109136/ad-classics-munich-olympic-stadium-frei-otto-gunther-behnisch/> [accessed 16 March 2015]. <Fig 4.4> London Aquatics Centre for 2012 Summer Olympics / Zaha Hadid Architects (18 August 2011) <http://www.archdaily. com/161116/london-aquatics-centre-for-2012-summer-olympics-zaha-hadid-architects/> [accessed 19 March 2015]. <Fig 3.4, Fig 3.6, Fig 3.7, Fig 3.8> MATSYS, Shell Star Pavilion (27 February 2013) <http:// matsysdesign.com/category/projects/shell-star-pavilion/> [accessed 18 March 2015].

PART B CRITERIA DESIGN

b.1 RESE A RCH FIELD:

BIOMIMICRY “Our planet is still full of wonders. As we explore them, so we gain not only understanding, but power. It’s not just the future of the whale that today lies in our hands: it’s the survival of the natural world in all parts of the living planet. We can now destroy or we can cherish. The choice is ours.” — David Attenborough DESIGN AGENDA When we had achieved the speeds in all kind of developments, yet we forget about the vastness and numinous of nature. 1 And we are now facing the most unprecendented environmental challenges of our time. Biomimicry becomes an approach that calls for flexible, adaptive and performative architectural responses.2 It is aim to search for life’s analogies by looking into nature not just for aesthetic inspiration, but also functional and conceptual strategies. By choosing biomimetic, it is hope to find where we fit in the nature and harmony with one another. Hence, the goal for this project is to bring back the intrinsic values of nature through a responsive and immersive installation that seek a balance between the rationalism of parametric approach and the wild, rugged and exotic of Merri Creek. In this regard, the installation will be used to represent what it means to be part of the Merri Creek at the same time to reflect the technology and culture of our time.

HOW BIOMIMICRY RELATE TO ARCHITECTURE? In architecture, it is accustomed to focus on individual elements details. However, such practice does not allow us to work on a dynamic context. As nature comprises dynamic systems that depend upon their elements diversities to maintain a balance within an ecosystem, the study of interconnectivity of each of the elements can help us to generate similarly flexible buildings design that coexist with one another in the whole ecosystem.3 As discussed in lecture, once the mechanism of nature is understood, we can use the same logic how nature organize themselves (for example Fig 5.1 the pattern of stone formations ) to tackle and deploit it into entirely different designs but still behave under the same definition. Indeed, a successful performing designs also depends on how the definition and forms integrated with material system in order to achieve desire structural effects and environmental performance. 4

BIOMIMICRY APPLICATIONS Biomimicry can be categorized into 6 principles in design: adaptation, material as system, evolution, emergence, form and behaviour.5 The following page will look into two biomimicry precedents to study how plants adaptation under arid conditions and the material system in silkworm’s cocoon translated into built designs using computational approach. These precedents will be used to develop an understanding of techniques in creating interactive lightweight structure that can adapt their form and character responsively to the site.

Fig. 5.1 Stone Formation Pattern

Matthews, Freya (2005) Reinhabiting Reality: Towards a Recovery of Culture (Albany: State University of New York Pess), 136, 137

2, 3

Mazzoleni, I. (2013). Architecture Follows Nature-Biomimetic Principles for Innovative Design (Vol. 2). CRC Press.pg 6

Menges, Achim (2012). “Material Computation: Higher Integration in Morphophonemic Design”, Architectural Design, 82, 2, pp. 14-21, p. 20

Salma Ashraf El Ahmar (2011) Biomimicry as a Tool for Sustainable Architectural Design: Towards Morphogenetic Architecture (master’s thesis, Alexandria University), 22.

Boston’s Treepods

Architect/Designer: Influx Studio, ShiftBoston Location: Boston, USA Status: Proposed in 2011 This precedent shows how biomimicry can be used, in this case, emulating the basic biological characteristic of trees to create an integrated urban device to catch carbon dioxie and purify the air. This project allows us to reimagine the role of architecture and its potential contributation for restoring natural system. 6 Unlike biomorphism which takes pattern in nature for aesthetic forms, in this biomimicry project, the logic behind the Dragon Blood Tree (a tree which grows in arid climates) is however significant to the understanding of how it allows wind flows, storage and distribution of resources from the ground to be applied as the concept for the canopy design. Here, the adaptation of Dragon tree in dry climate is translated into parametric design for the built environment by mimicking the ‘umbrella-shaped crown’ of Dragon Blood Tree’s branches (Fig 5.2) into a parametric definition that give flexiblity in creating highly responsive and perfomative surfaces to provide shadings and host solar pv to harvest energy that power the air cleaning system and eye-catching lightings at night (Fig 5.4).7 Despite just imitating tree, the branches end with a variable of bulbs work akin alveoli in human lung, serving as filters with contact points between air and carbon dioxide (Fig 5.3).8 Hence, the performance is the primary consideration that led to the form and structure development, like Peter describe the computation works at Herzog de Meuron and what Kolarevic & Klinger called ‘form follows performance’ strategies. 9, 10 By using an ‘upcycling’ strategies in materials like Greg Lynn did in many of his works, this project also decide to ‘repurposed’ drinking bottles which available in large quantities as recycled raw material. Plastic bottle does not only benefit fabrication due to its good tensile resistance and mechanical properties, but it also allows for different colorations and degrees of transparancy for the design as it can be easily processed into complex forms. The assembly of the structure by simply connecting each modular elements is shown in the diagram (Fig 5.5) Hence, it is wise to consider the idea of reusing waste to enhance design and rebalance our footprint for the Merri Creek installation.

Fig. 5.2 Dragon tree branches biomimicry translated into a treepod definition

Fig. 5.3 Design details of a branch

Mazzoleni, I. (2013). Architecture Follows Nature-Biomimetic Principles for Innovative Design (Vol. 2). CRC Press.pg 6

7, 8

The only implication of this project is the solar energy would not be sufficient to fully power the trees. Hence, the team decide to use human interaction with seesaws to generate kinetic energy to power the tree. This in turn create new opportunities for people to involve in this green agenda by experiencing and learning the de-carbonisation process as they play on the seesaws. The Treepods not just serve as a model of sustainable urban design, but also provide an interactive interface for public to enjoy, which will also be explored as one of criteria for the Merri Creek proposal.

Jordana, Sebastian. Boston’s Treepods / Influx_Studio. 08 Mar 2011. ArchDaily. Accessed 10 Apr 2015. <http://www.archdaily.com/?p=118154>

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

Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 10

Fig. 5.4 Colourful lightings at night

Fig. 5.5 Assembly diagram

Silk Pavilion

Architect/Designer: Mediated Matter Research Group Location: MIT Media Lab Status: Completed in 2013 The Silk Pavilion integrates computational form-finding strategies with biologically inspired fabrication to produce architectural structure. In this project, it is learnt that biomimetic not just can be used to formulate a concept like in the previous precedent, but also can be studied to improve digital design construction. Digital fabrication although is often a later stage of the design process, it is not for all cases. Sometimes we need to consider what type of elements to be fabricated in earlier ideation stage. 11 Thus, this project is chosen to study the potential of biomimetic approach in fabrication for the Merri Creek design as it is worth considering what to achieve before immerse in the technologies of material system. Especially nowadays technology advance is capable for us to experiment with new materials for creating new tectonic expressions for building skin, structure and effect.12 As the project seeks to overcome the limitations of current additive manufacturing technologies, the research team uses biomimicry and look up to the nature material system for solutions. Neri Oxman claims that it is possible to develop a far more efficient printing technologies than the current 3d printing for architecture just by studying natural process such as how silkworms build their cocoons.13 In such case, the spinning pattern of silkworm is developed into computational tools that mimic their behaviour to construct a fibrous CNC (Computer-Numerically Controlled) fabricted super-structure. This allows a new technology that relies on biology and digital computation in creating highly efficient tensile lightweight structure. This can be helpful to understanding of material optimisation in fabricating an inflatable structure for the Merri Creek. Another worth mentioning strategies that learnt from this project is how its overall geometry form was designed to suit its intended fabrication technique using an algorithm that allows “single continous thread across patches providing various degrees of density”.14 As Branko Kolarevic observes, the transformation of architecture in digital age has led to a much greater integration of fabrication techniques into conceptual design. 15

11, 15

Around 6,500 live silkworms were participated in completing the secondary structure of the pavilion by depositing silk strands on the dome structure, while the primary structure of the pavilion was fabricated of 26 polygonal panels by the CNC machine. 17 From form finding, the making of each polygon frames that built into a dome structure till the silkworms completed the secondary structure shows that the construction of the pavilion is a bottom-up process without the need for conventional documentation like in traditional topdown design process as discuss in the week 4 lecture on parametric modelling.

Fig. 5.6 Experiment on the silkworms’ interaction with space

Dunn, Nick. (2012). Digital fabrication in architecture. Laurence King, 18.

12, 16, 17

13, 14

By tracking the silkworms’ movement as it buildings its cocoon, the motion-capture data was translated into CNC machine to study the biological structure at larger scale. Experiments taken out to study how they react under different spatial and environmental conditions such as geomerty density, natural light and heat variation as shown in (Fig 5.6). 16 The experiment informed the silkworms have instinctive preference for darker areas of the pavilion’s surface which explains how they interact under their nature environment. Eventually the findings were used as the foundation to determine the simulation of CNC machine to wove the panels and the density of the thread.

Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6

MIT Media Lab’s Mediated Matter Group. (2013). Silk Pavilion. Accessed 10 April 2015 < http://matter.media.mit.edu/environments/details/silk-pavillion>

Fig. 5.7 The Silk Pavilionâ&#x20AC;&#x2122;s lightweight dome structure suspended from ceiling

b.2 case study 1.0:

THE MORNING LINE The Morning Line by Aranda Lasch is a project based on the concept of recursive fractal growth and a ruin imagination from future inspired by history and structure of universe (Fig 6.1). 18 Acting as a platform that interplay between art, music, architecture, engineering and cosmology, it is meant to be highly responsive and capable to reconfigure its modular structure at different sites along with its sonic content. The technique of aggregations was used to arrange the blocks into a modular structure (Fig 6.3). Each of the block is interchangable and demountable to adapt its form to new sites. It is made possible with the aid of parametric tool that allows a series of fractal blocks ‘grows’ and ‘scales’ into lines, space and structure (Fig 6.2).19 With the provided grasshopper definition, it is learnt that this can be done by trimming the edges of blocks and scaling another set of block at the edges which results in aggregation of fractal blocks. Hence, this project is completely rational due to its specific patterning and structure are organised through parameters. Instead of aggregates blocks, the final design is fabricated using blackened frames based on the pattern generated on each surface of the tetrahedron blocks using another technique. Despite the use of different techniques has changed the existing design into fractal lines and frames, the function and principles are still the same.

Fig. 6.2 Modular structure

The following page is a matrix of iterations based on 5 strategies that extended the definition into various potential forms, patterns and structure.

Fig. 6.3 Techniques used in the design process

18, 19

Fig. 6.1 Sketches of concepts

Aranda Lasch. (2013). The Morning Line. Accessed 16 April 2015 <http://arandalasch.com/works/the-morning-line/>

b.2 case study 1.0: MATRIX Wire | Bezier Span

Aggregates | Galapagos & Dodecahedron

b.2 case study 1.0: design possibilities

While exploring the benefits of bezier span for creating built works, it is found that it has the potentials to create both interesting curvy and rigid structural frame. This iteration is chosen due to its potentials in achieving a lightweight structure. As sustainable use in materials is one of the criteria set for the design, a lightweight tensile structure is highy considered as it can be easily fabricated with minimal materials like high tensile rope or steel. Although the structure can be quite simple, it allows an infaltable membrane to be applied as the skin and give an playful qualities to it. However, this design also has it disavantage due to its overlapping curvy lines that can be challenging while determining its structural stability.

Bezier Span | Structural strategies

As this iteration is achieved by a recursive method using scaling and trimming, it shares the quality of fractal patterns in nature which may appeal to public aesthetically. It can be used as an interactive pavilion that inform people how simple concept in nature can be translated into achitecture. For the large area of outer skin, it can be utilised for a performative and resposive skin similar to the Treepods precedent discussed earlier. Rather than just being aesthetically pleasing, each of the petal-like panels can be used as energy collector and to light up the pavilion with colourful lightings at night. For fabrication preparation, this can easily done by unrolling the panels into surface using digital fabrication technique.The limitation for this design is that its overall form has a wide base, hence a large flat site is required.

Polar Array | Pattern strategies

Unlike the previous iterations which based on the recursion, this design is achieved by using another strategy that allows various translation cluster the repeating dodecahedron in an interesting rhythmic way. From one block, it extended to a cluster of the blocks that turn into structure and space. This design has the potential to be an interactive space that connect human and nature in harmony. For instance, each of the blocks with the wireframe can be utilised as nest holes that the encourage growth of plants and to attract birds, at the same time allows people to experience the space surrounding with nature activities. One of the limitation of this design is its technique does not allow to control the scale of each block. Hence, another strategy might be needed to give certain flexibilities to the design.

Galapagos | Form strategies

Similar to the second iteration, this design has the fibonacci patterns that can be often found in plants. Such pattern generated based on the specific arrangement, can be potentially built with structural grid that give a rigid and efficient design. However, such standardized and systematic pattern can be appear to be very manmade even though it has the principles of nature, such as the seed arrangement in sunflower. Although the intention was to just explore patterning by repeating the elements, the tiers which gives hierarchy expression is an unexpected outcome for the design. This allows the design of multi level platforms or stage which can be serve for different purposes and activities.

Polar Array | Pattern & Structural strategies 43

b. 3 case study 2.0: re verse engineering

ICD RESEARCH PAVILION 2011

Heterogenity:

adapt

the

local

curvature

After experimenting with recursive growth in previous precedent, the ICD Research Pavilion 2011 is chosen to study how to integrated performative capacity of biological structure into an architectural design that can be tested for its spatial and material systems in full scale.20 Using the concept of sea urchinâ&#x20AC;&#x2122;s plate skeleton, the projectâ&#x20AC;&#x2122;s focus was to develop a modular system with high adaptability through geometric differentiation of the plate components. Three fundamental biological principles are applied in the computational design: heterogeneity (uniformity of the cells), anisotropy (directional structure), and hierarchy (level arrangement of structure) (Fig 7.1).

and

discontinuities, the sizes of each cells are not constant.

Through this case study, it is clearer to understand how to translate principles in nature into design strategies that can be manipulated and optimised using computational process. For instance, Kangaroo was used as the main design tool for form finding. It does not only allow the integration of biomimetic principles, fabrication and materials behaviour with the physical simulation test, but also architectural tectonic spatial qualities. For this, high load capacity of the shell was achieved by specific arrangement of three plate edges always meet at one point which enable transmission of nomal and shear without bending moment in between the joints. Thus, it can be fabricated easily using thin plywood sheet and assembled with teeth joining system. Furthermore, a double layer shells are developed under relaxation and reverse gravitional pull force of the geometry mesh which give two distinct spatial entities to the pavilion: a large interior space with porous inner layer and smaller interstitial space between the double layers of the shell (Fig 7.2).

Anisotropy: The cells are orientated according to mechanical stresses for a high load bearing capacity.

By reverse engineering the form and surfaces strategies in this project, it is aim to develop a new architectoral tectonic system for the design proposal in B.4 Technique Development.

Hierarchy: The overall shell pavilion is orgarnized as a two-level structure, with the plywood sheets that glued together to form a cell as the first layer and the screw connection joints that allow assembly and disassembly of the pavilion as the second layer.

Fig. 7.1 Fundamental biological computational design process

principles

applied

Fig. 7.2 Two distinct spatial entities of the pavilion 20

Institute for Computational Design Univeristy of Stuttgart .(2011). ICD/ITKE Research Pavilion. Accessed 2011 18 April 2015 <http://icd.uni-stuttgart.

de/?p=6553>

b.3 case study 2.0: RE VERSE ENGINEERING This reverse engineering experiment with form finding with kangaroo and panelling using lunch box. In this definition, it allows geometric differentiation by controlling the UV division of the cells. It can be further explored using different pattern and surface as input components to create other interesting surface panels designs.

1 Create the form for the pavilion with kangaroo then bake into two surfaces: outer layer and inner layer.

2 Using Hexagon Cells from the lunchbox plugin, it allows to create hexagonal cells on both surfaces and provides the control of u and v cells disivion on the surfaces. With this component, different sizes and pattern of hexagonal cells can be created easily by changing the value of the parameters.

3 Inner surface: By connecting the centre point of the cells from the Hexagon Cells component, another set of smaller scaled hexagonal cells are created based on the centre points of the first set of cells. The smaller cells are projected outwards in order to create three dimensional surface in the next stage.

4 Inner surface: Hexagonal holes are created directly by lofting the two set of cells together and become the inner porous layer of the pavilion.

5 Outer surface: Using the same definition for the inner layer, the holes are then capped to get the complete hexagonal surface as envelope.

Reverse Engineering of ICD Pavilion 2011

b.4 technique:

DEVELOPMENT In development stage, the design process started from the reverse engineering case study 2.0 ICD research pavilion 2011 to explore various forms, tesselations and fabrictation techniques. Whilst attempting to create a whole new spatial experience for the site, both the landscape of the CERES park and its surrounding activities are looked into to analyse their influences to the site. The results from the site visit is there are many activities going around the places without proper shed and not much nature awareness delivered to the visitors. Thus, the focus of this project is to create a space for relaxation and accentuate nature awareness among the visitors through plant rehabilitation at the pavilion. Below is a list of criterias that will be considered while developing the techniques. 1. An art installation for plant rehabilitation and relaxation. 2. Provide a new attraction not only for human but also for the birds and insects along Merri Creek. 3. Structure, form and patterns derived from the principles in nature (biomimicry) with high adaptability and perfomance. 4. An immersive and unexpected space that will fit into the landscape and incoporate the existing trees and plants as part of the design. 5. Provide alternative experience at night with responsive lightings.

b.4 technique de velopment: MATRIX Surface Panelling | Hexagonal Cells

Waffle Grid | Voronoi Cells

b.4 technique de velopment: MATRIX Form Finding (Inflatable) | Kangaroo

Tesselation | Circular Packing

b.4 technique de velopment: MATRIX Waffle Grid | Voronoi Cells

Vascular tubes | Circular Packing Projection

b.4 technique de velopment: DESIGN POTENTIA L & CHOSEN TECHNIQUES

The form is chosen for the structural technique test as its large vaults spreading into three wings can provide good access and circulation into the space. While looking for stuctural solution to the form, the voronoi cells generated by culling produced a weavable pattern that can achieve high strength and stability structure. In this interation, the voronoi pattern are projected onto the chosen vault surface and resulted an aesthetic framing grid for the vault. Hence, it can be fabricated easily using Waffle Grid technique through intersting ribs. The most likely material to apply with the technique is plywood or as it allows bending of the vault.

Similar to above techniques and form, however the voronoi grid in this design has higher complexity. Yet the complexity gives the form more sophisticated and strutural system. Hence, the technique does not only help to find efficient structure but also aesthetic in structure. As the panels are slightly thicker, it can be tested with woods, perspex or other repurpose matrials for diffferent opacity and aesthetic affects.

In this interation, the design focus on revegetation plan for the stucture,. For this, the idea of the vascular cells in plants was adopted in this form as it has large cover area on the roof. Instead of emulating the vascular tube, the idea was translated to make circular rings that can hold various size of plants containers. By packing them close together it is aim to form it into mass that also allows structural rigidity. However, due to the flexure and bending in the form the circular packed rings might have to be framed additionally with either tensile cable or steel mesh.

Continued from the previous iteration, the vascular tube idea was adopted and packed with various densities and sizes of tubes in â&#x20AC;&#x2DC;mushroom likeâ&#x20AC;&#x2122; parabolic canopy form to achieve interesting spatial effects. By packing them close together it supposed to form into mass that allows structural rigidity. With just the tubes, the form can be self supporting entity in itself without the need for a separate internal structure. The design intention is to form a canopy that reminiscent the verticality of the woods to evoke and reflect nature. Beside that, responsive lightings can be install inside the tubes to create the effect of the dappled light of forest at night. To achieve this, materials and construction techniques have to be tested carefully in the prototype using various recycle plastic tubes. Recycle materials is used to reduce foortprint of the design.

B.5 TECHNIQUE:

PROTOTYPES In this section, one most successful design from the technique development (Fig 8.1) will be used to analyse its materials and digital fabrication strategies to achieve maximum structural performance and various aesthetic affects. The first part will show how the prototypes can be fabricated using digital computation for documentation and layout to obtain maximum accuracies. The second part deals with prototypes experiment for different strategies such as: Prototype 1: Material & Structural connection test Prototype 2: Shadow & transparency test Prototype 3: Lightings test

Fig. 8.1 Selected design for prototype test

b.5 technique: PROTOT Y PE FA BRICATION STR ATEGIES

FIG 8.2 Overall plan of the circular tubes

FIG 8.3 Selected zone tube arrangements and

FIG 8.4 Centre point of tubes used to

arrangement.

connections for prototypes. Each tube was

analyse the structural connections of the

labelled using point list in grasshopper.

tubes.

45mm

30mm

24mm

15mm

FIG 8.6 Four different types of radius for the tube design.

FIG 8.5 Unrolled pattern of individual tubes in 1:50 to be printed with number labellings as guide for model making.

FIG 8.7 Tubes wrapped with the printed pattern ready to be cut.

PROTOT Y PE 1: material & Structural connection

10mm

5mm

4mm

6mm

10mm

FIG 8.8 Dimension of rivet screws used to connect the tubes.

MATERIAL SYSTEM This prototype was used to test plastic tubes material system and its stuctural stability by just using rivet screws to hold them together. As the project aims to use upcycling materials inspired by the precedent studies to reduce the footprint of the design, plastic tubes which are highly available in different sizes, diameter and colour were chosen. STRUCTURAL CONNECTION The connection of each tube to the adjacent tubes are based on their centre point to lock them in equal balance of force (FIG 8.4). Due to the fragility of the plastic, the rivet screw cannot be tightened too much as it might break the tubes. Despite that, the rivet screws are connecting the tubes in well condition. The bottom part of the original design are revised to a wider base instead of tip base to allow the tubes stand up and balance itself. However, this might not needed if the tubes are fixed ino the soil. As the screws used in this prototype are in real scale while the model is in 1:20, the weight of the screws was an issue in this prototype for the plastic tubes to hold up themselves. Hence, appropriate size FABRICATION As all the tubes are unique by itself with the curvature respond to the canopy form, each tube has to be unrolled individually to get the accurate curvature and direction in relation to the adjacent tubes as guideline to cut the tubes (FIG 8.5 & 8.7). Having the holes cut on the unrolled pattern also provide a guide to connect the screws to the adjacent tubes holes. Although most of the work from translating digital to physical documenting and layout are generated with digital tools, cutting and connecting the tubes are carefully tailored with hand.

FIG 8.9 Prototype for connection detail in 1:20 61

PROTOT Y PE 2: shadow & transparency

SHADOWS & TRANSPARENCY In this 1:50 scale prototype, screws connectors are not used as the purpose is to just demonstrate the shadow and transparency effects of the installation. Clear tubes are chosen not merely for aesthetic, but is to accentuate the lightness of the materials and reduce its obstruction to view the surroundings. The interesting bubblelike shadows are unexpected results from the test. To achieve this, the tubes have to be located at an open site with optimum sunlight to get the similar bubbles shadows as well as for the plants to grow.

PROTOT Y PE 3: lightings

COLOUR LIGHTINGS In this experiment, warm yellow light and blue light are used to test different ambient and mood of the installation. It is interesting to note that warm yellow light results a relax and romantic mood, while blue light give a modern and cool atmosphere to the space. As the aim is to create the effect of dappld light of forest, warm yellow light is noted to be more suitable for the installation.

B.6 TECHNIQUE:

PROPOSAL The concept of the design is primarily driven by the inspiration drawn from Philip Beleskyâ&#x20AC;&#x2122;s lecture on â&#x20AC;&#x2DC;Computational & Landscape Designâ&#x20AC;&#x2122; as well as the precedent studies on how to integrate environment and and nature principles in architecture design. Thus, the focus of this proposal is to show how the concept of vascular bundles in plants can be transformed into a pavilion installation for its similar structural and aesthetic value using computational techniques. This project is proposed for the CERES environmental park as a platform for revegetation project and relaxation at the open area cover approximately 50m2 next to the farm (FIG 9.1). The target for this pavilion is not just the visitors of the park but also the birds and insects in the park through the rehabilitation plan. It is hope that this installation will bring human closer to the nature and create awareness through their individual experience of nature interaction under the installation. Being parametrically design, the complexity of the design elements in non-standard form are to represent the technology innovation and creative ideologies while achieving optimum performance in the designs.

FIG 9.1 Proposed site location

b.6 technique: proposal DESIGN CONCEPT

MATERIALITY | CONSTRUCTION | LIGHTING

As the design intention is to provide an immersive space for relaxation in the parks at the same time to create revegetation platform to evoke nature awareness among the visitors, the verticality of the canopy rainforest (FIG 9.2) is taken as source of inspiration for the pavilion design in terms of structure and spatial experience. This led to the use of vascular bundle in plant cells as the design concept for the pavilion (FIG 9.4 & FIG 9.5).

In order to minimise the cost nad footprint of the design, lightweight clear acrylic tubes are chosen for the pavilion with rivet screws as connectors. Also, tube are highly avalable in ranges of diameters for the design. Transparency is also used to accentuate the surrounding nature as one enter the pavilion. To make this pavilion functional during both day and night, warm yellow sensor light will be installed inside the tubes to create dazzling effects at night as a relaxation space as shown in the prototype test (FIG 9.3).

BIOMIMICRY

REVEGETATION PLAN

Learning from the ICD pavilion 2011 with its the integration of natural principles into architecture design, for this project, both voronoi patterns of the cells in the plants and its arrangements as vascular bundles are studied for their structural bahaviour and potential aesthetic features.

Although the initial plan was to incorporate the plants in the tubes, in terms of maintenance wise this is not very suitable. Hence, the revegetation will be on the ground surrounding the anchors of the pavilion (FIG 9.10). The purpose for this is not only to evoke nature awareness to the park visitors, but also to make the pavilion favourable to the birds and insects in the park with the plants. Through this, it is also to provide opportunities to the visitors to engage with the nature.

PATTERN Instead of emulating the voronoi pattern of the cells, different sizes of circular rings are generated via grasshopper script based on the same principle to create interesting packing patterns for the pavilion (FIG 9.7). This is not merely a pattern abstraction process, but also for the ease of materials selection for fabrication in the later stage.

STRUCTURAL After discovering the potential structural efficiency of the densely packed vascular bundle (FIG 9.5), such behavior is adopted as structural strategies for the design. For this, extrusion is added into the previous definition to transform the circular packing circular patterns into tubes. The packing form mass and allow the tubes to be self-supporting.

FIG 9.2 Verticality + Canopy Cover + Dappled light = Immersive Space

FORM The developing of the form is responding to the functions of the pavilion as event place and revegetation platform. A series preliminary sketches of canopy forest ideas and circulation arrangement of few canopies are used as guide for form finding with kangaroo (FIG 9.6). The final form of the pavilion are made up of four parabolic canopies to provide spacious area for revegetation (FIG 9.8). The packing of tubes are then projected onto the form to get the final design of the pavilion (FIG 9.9). FIG 9.3 Prototype for lighting effects at night

b.6 technique: proposal

FIG 9.4 Various sizes of cell packing arrangements

FIG 9.5 Vascular bundles as structure

FIG 9.6 Canopy form sketches

Concept understandings translated into parametric definition as structural, patterning and form techniques.

FIG 9. 7 Circular packing iterations

FIG 9. 8 Form inspired by canopy

Optimisation of circular packing with script

Form finding with kangaroo

FIG 9. 9 Final digital model

Circular packing projected and extruded to the canopy form

FIG 9. 10 Rendering of pavilion at the site

B.7 CONCLUSION:

LEARNING OBJECTIVES & OUTCOMES The learning process was an iterative exercise moving back and forth from one case studies to another case studies. Although one case study was selected at the beginning to understand how algorithimc and programming scripting are used to generate designs, it is often needed to go through other case studies to explore other potential techniques. In this way, various possibilities and limitations of the techniques could be explored and extended into a new design definition. While searching for potential strategies using parameter manipulation, sometimes it might gives unexpected outcomes that could be useful in generating another techniques for the design. For instance, the technique for making the circular tubes in the design was actually discovered while manipulating the parameter in circular packing definition. After knowing various potentials techniques, it is easier to come up with an intesting proposal for the project. Hence, the concept of the design was finalised after realising what are the pros and cons of the techniques. Also, the design ideas change constantly throughout the process due to various limitations and possibilities. Although the initial design was to incorporate plants in the tubes, this idea was not included in the final design due to scale issue. However after taking advices from the critique panel, I would like to continue working on to incorporate plantings in the tubes by modifying the form and scales. After learning the form of the design should be responding to the site, this will be improvised in Part C and sun analysis will be studied to achieve a performative installation for the plants. Although parametric design allows flexibility in various designs, fabrication strategies and the materials system have to be considered along the process to make sure the design is constructable and the materials are not difficult to source. For that, some design ideas have to be changed or dismissed. To illustrate, although voronoi cells were used as the patterns studies for the design, circular rings were used instead in the design for the ease of materials selection in fabrication process. The limitation of the proposed design is that it does not allow a straight fabrication process due to the uniqueness of individual tubes cast out of the chosen canopy form. Although majority of the work from unrolling digital model into surface to be cut and labelling documenting was generated through scripts there is still a significant amount of work done by hand such as to cut and connect the tubes together. Unlike conventional design process, integrating parametric design can be quite complicated in the beginning, however it is worthwhile to be explored due to its flexibility in design solutions.

B.8 A PPENDIX:

ALGORITHMIC SKETCHES spider wed | form finding strategies

Learning Outcomes: Line as Spring Connection - Anchor point as Constraint Pattern as Geometry - Unary Force as Gravity Through this spider web exercise, each inputs and outputs on the kangaroo physics plug in are explored to understand what are their potential for designing. It is an interesting plug-in which allows interactive simulation by just toggle on and off to experiment how the elasticity changes the form and the pattern of the spider web. After knowing the functions of springs, anchor points and unary force, it allows me to take this exercise as a reference to develop form finding technique using kangaroo physics for my design. For instance, to modify the techniques mesh are exploded into lines as spring to create triangulate geometry pattern, unlike in this exercise voronoi was used to create spider web. In order to manipulate the form, curve boundary or points can be set as anchor points to get wide range of forms.

EXPRESSION SIN(X) * COS(X) | pattern strategies

Learning Outcomes: Pi - Range - Expression - Graph Mapper - Point Polar Interpolate Curve With this equation exercise, it is learnt how maths can be useful for patterns making. For this, graph mapper is also one of the significant component that allows variation of patterns. Although this was merely an exercise to find out interesting patterns, this definitely help to form the understanding of patterns making through scripts in developing techniques for my project.

UNROLL & make tabs | FABRICATION STRATEGIES

Learning Outcomes: Unfolded strip - Tab Width - Tab Scale - Cut - Score This clustered definition is an extended version of the simple tab making component which allows to make the fold line by extracting the boundary of the unrolled polysurface. It is very useful as also allows to bake the fold lines and the tabs line in different layers and colours. For instance, the fold lines is reference as score in red layer and the tab lines as cut in black layer. Through this exercise, it is found out that some of the tabs overlapping with another tabs. Hence, for this component to work efficiently, the unrolled surface have to be in shorter strip. Learning from this fabrication exercise, this technique form the foundation of understanding how digital model can be translated into physical using scripts. Hence, the unroll component was used to transform my design into flat surface to be printed during fabrication stage.

REFERENCES BIBLIOGRAPHY Aranda Lasch. (2013). The Morning Line. Accessed 16 April 2015 <http://arandalasch.com/works/the-morning-line/> Dunn, Nick. (2012). Digital fabrication in architecture. Laurence King, 18, 46, 47. Institute for Computational Design Univeristy of Stuttgart .(2011). ICD/ITKE Research Pavilion. Accessed 2011 18 April 2015 <http://icd. uni-stuttgart.de/?p=6553> Jordana, Sebastian. Boston’s Treepods / Influx_Studio. 08 Mar 2011. ArchDaily Accessed 10 Apr 2015. <http://www.archdaily.com/?p=118154>

Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6, 10. Matthews, Freya (2005). Reinhabiting Reality: Towards a Recovery of Culture (Albany: State University of New York Pess), 136, 137 Mazzoleni, I. (2013). Architecture Follows Nature-Biomimetic Principles for Innovative Design (Vol. 2). CRC Press.pg 6 MIT Media Lab’s Mediated Matter Group. (2013). Silk Pavilion. Accessed 10 April 2015 < http://matter.media.mit.edu/environments/details/silk-pavillion> Menges, Achim (2012). Material Computation: Higher Integration in Morphophonemic Design, Architectural Design, 82, 2, pp. 14-21

Peters, Brady. (2013) .Realising the Architectural Intent: Computation at Herzog & De Meuron. Architectural Design, 83, 2, pp. 60. Salma Ashraf El Ahmar .(2011). Biomimicry as a Tool for Sustainable Architectural Design: Towards Morphogenetic Architecture (master’s thesis, Alexandria University), 22. Woodbury, Robert F. (2014). How Designers Use Parameters, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), 165.

IMAGES <Fig 5.1> Stanislav Roudavski. 2015. AIR 2015 S1 L05 Patterning <https://app.lms.unimelb.edu.au/bbcswebdav/pid-4768359-dt-contentrid-16736915_2/courses/ABPL30048_2015_SM1/AIR%202015%20S1%20-%20L05%20Patterning.pdf> <Fig 5.2 -Fig 5.5> Jordana, Sebastian. “Boston’s Treepods / Influx_Studio” 08 Mar 2011. ArchDaily Accessed 10 Apr 2015. <http://www.archdaily.com/?p=118154> <Fig 5.6, Fig 5.7> MIT Media Lab’s Mediated Matter Group. (2013). Silk Pavilion. Accessed 10 April 2015 < http://matter.media.mit.edu/ environments/details/silk-pavillion> <Fig 6.1-Fig 6.3 > Aranda Lasch. (2013). The Morning Line. Accessed 16 April 2015 <http://arandalasch.com/works/the-morning-line/> <Fig 7.1-Fig 7.2> Institute for Computational Design Univeristy of Stuttgart .(2011). ICD/ITKE Research Pavilion. Accessed 2011 18 April 2015 <http://icd.uni-stuttgart.de/?p=6553>

PART C DETAILED DESIGN

C.1 DESIGN CONCEP T:

INTRO TO A NEW PROPOSAL In this phase, the design project is continued in a collaborative form with a new proposal. After gained through a series of independent studies in the first two parts of the design studio, it is hope to produce a higher quality and innovative design through a group work as suggested earlier in the semester. For that, a pair work is chosen so that it is easier to narrow down the ideas and merge only the best solutions for optimum results. After reflecting upon the potential techniques and ideas from both members, it is decided to further extend the circle packing technique developed earlier into sphere packing with inflatable and modular as two fundamental concepts. The aim is to create a lightweight installation as an event venue for the CERES park, to create interactive engagements between users and the installation which allow them to assemble in the way they want it to behave as. The following section document the whole design process started from introducing the concept and criteria for the project, then to site analysis, technique optimisation, prototypings and fabrication of final model.

Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), 1

Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press), 1

C.1 DESIGN CONCEP T: concept & brief

In.Mod

CONCEPT & BRIEF

FIG 10.1 Modular & Inflatable atoms

The In.Mod derived its name from its intended behaviour which means inflatable and modular. The project is conceived as a collaborative platform to explore the interplay of art and biomimicry architecture through flexible and inflatable elements. While the intention is to create a customizable installation that is unique in its arrangement everytime it set up to accommodate different functions and events, this project mimics the principles of atomic bonding which allows creation of new units under chemical reaction using sphere packing definition.

FIG 10.2 Different arrangement of forms & spaces

x y y

z z

FIG 10.3 Full Packing Triangulation Rule

According to the bonding rule, atoms bounce and collide with each other then bond into molecule compounds only when their orientation is effective and correct. Imagined as a group of atoms in the air (Fig 10.1), the In.Mod is a bonding structure in space, where various size of atoms freely bond with one another (Fig 10.2), in the condition that their radi allow a full packing such as a triangulation network as shown in (Fig 10.3). For the ease of both setup and dismantlement, inflatable atoms are decided for the installation. As CERES often face darkness in the night time and could hardly hold event with a proper lightings claimed by the park representative, this project will also seek to solve this issue by creating a permanent lightings installation that integrate into its surrounding landscape. The project criterias are summarised as below: 1 Modular: Interactive + customizeable 2 Inflatable: Interactive + Dismantlement (Deflatable) 3 Permanent lightings: Night vision + Mood

FIG 10.4 Deflatable for dismantlement

C.1 DESIGN CONCEP T: SITE RESPONSE

PM AM

SUN PATH

VEGETATION & WIND

CIRCULATION

FUNCTIONAL ZONING

N Permanent seating spots Opening

face

the

open area at east, avoid overshadow

and

strong

wind currents

FIG 10.5 Site analysis

SITE RESPONSE

1.Bubble space planning

2.Boundary set up

3. Highlight permanent anchors/ constraints for seatings and lightings

As the installation is meant to be customizable, a spacious area is needed. Thus, an open grass area approximately 100m2 in Village Green, next to the Merri Creek bend is chosen as the project site. While the surrounding vegetations give an opportunity for the installation to integrate with the landscape, the walking paths connecting to the site is also highly accessible. According to the sun path and the annual prevailing wind directions research (BUREAU), the opening of the installation is best facing to the east for optimum skylight as well as to avoid strong wind currents from the north. The sketches on the left illustrate space planning which respond to the bending of the river at the site and its function such as main stage for events, permanent anchors for the installation set up and seating spots.

FIG 10.6 Initial sketches space planning

C.1 DESIGN CONCEP T: techniques & ENVISAGE CONSTRUC TION PROCESS DESIGN TECHNIQUES

SURFACES BOUNDARY

1 Boundary spots resolved from

MESH SURFACE Surfaces applied into

TRIANGULATE MESH Irregular mesh are refined into

site analysis converted into

network mesh to give

triangulate mesh to give an optimum

surface to ready for editing.

flexbility in manipulation.

network for circle and sphere packing.

ENVISAGE CONSTRUCTION PROCESS

CONSTRUCTION JOINTS

Construction joints are determined

PERMANENT ANCHORS

Identify the location of sphere which

MODULAR SPHERE

Different size of inflatable spheres

by the intersections of sphere,

fixed permanently on the ground as

filled with helium attached to the

that is by evualuating the points

anchor and to be install with lightings

permanent sphere on the ground.

on the curve of the sphere.

Kangaroo Full Packing Process

FORM FINDING Refined triangulate mesh inflated according to the

FULL SPHERE PACKING Kangaroo physic plug in used to apply a full sphere

constraints set for anchors to get a form or network

packing and help to avoid overlapping spheres.

structure for sphere packing using Smart Form plug-in.

LIGHTINGS Lightings are to be installed

PLATFORM & LIGHTWEIGHT MODULAR Platforms are added for an even ground to fix the

underneath the permanent sphere

permanent spheres. The lightweight helium-filled

on the ground as night installation.

spheres can be detached from the joints and released to the sky to create atmosphere of floating cloud or to be reconfigured into different form for other uses.

C.1 DESIGN CONCEP T: Form finding for anchors WITH HIGH TOLER A NCE in multiple CO N

Constraints (anchors):

Maximum opening:

Constraints (anchors):

Maximum opening:

ONFIGUR ATIONs

FORM FINDING FOR HIGH TOLERANCE ANCHORS

Constraints (anchors):

Maximum opening:

The form stimulation were carried out to test the constructability and stability of the installation with different types of constraints or anchors. In order to give enough flexibilty to the installation to be customized into different forms, constraints are set carefully so that it allows enough openings and arrangement of spaces (Fig 10.). As the installation is meant to be lightweight filled with helium, wind directions and speed also taken into consideration in form finding. According to the statistics from Australian Bureau of Metrology, Melbourne experiences strong wind at most from the north throughout the year. Hence, the form is limit to low height as possible at the north to avoid wind load destroy the inflatable sphere. The openings are big facing the east to allow the entry of optimum sunlight to penetrate the space and also to provide an expansive view to the surrounding. Other openings also created for circulation access. The three forms generated on the left are based on the principles stated above. However, the third form with the biggest opening and the least constrainst anchors are chosen to be constructed. This is because the anchors in this form allows higher tolerance for various configurations and stability compared to the first two.

C.2 TEC TONIC ELEMENTS & PROTOT Y PES:

CORE CONSTRUCTION ELEMENTS The construction elements for the project can be broken down into four main sections: 1. Inflatable sphere with hook panels and a valve 2. Flexible jointings that can be attached or detached easily 3. Permanent sphere anchors and seats with lightings The following section show different types of detailing and prototypes which carried out to test for their materiality, flexibility, construction rigidity and visual effects.

C.1 TEC TONIC ELEMENTS & PROTOT Y PES: DE TAILING CONSTRUC TION ELEMENTS A1. INFLATABLE SPHERE WITH HOOK PANELS AND A VALVE

Fig 11.1 Non-developable surface

Fig 11.2Developable surface

Fig 11.3 Hook panel added at intersections for jointings

CONVERTING TO DEVELOPABLE SURFACES Sphere is made up of compound curvature, that is, curvature in two directions. Therefore, it cannot be unfolded accurately as flattening of such surface requires stretching and shrinking of material used (Fig 11.1). In order to fabricate the sphere, it has to be converted into a series of developable surfaces (Fig 11.2), then only can be unrolled panel by panel. Of course, in such case, it will not be a true sphere, but an approximation. However, stretching of fabric-like plastic material through inflation will still allow a perfect sphere shape. Hence, such method is acceptable for the fabrication of inflatable sphere.

1e-1h

Fig 11.4 Unrolled panels with hook and labelled for fabrication

UNROLLING SURFACES WITH HOOK PANELS For the ease of fabricating joints in the next stage, small panels hook are added to the developable surfaces according to the intersections (Fig 11.3), then only unrolled into 8 panels with the hooks already attached as shown in the diagram (Fig 11.4). The panels are also labelled with number to avoid mismatching with the panel sequence during fabrication ADDING INFLATABLE VALVE AT THE FINAL STAGE As adding the valve at the tips of all panels is a critical part to make sure no leakage is allowed through tiny pores and holes. Hence, the valve is to be installed in the last stage and must be sealed with impermeable sealant (Fig 11.5). Fig 11.Valve sealed at the top which connects to tips of all panels

A2. FLXIBLE JOINTS THAT CAN BE ATTACHED/ DETACHED EASILY

Fabric type inflatable & modular sphere

Hard surface sphere fixed on ground

Fig 11.6 Two joint systems used for the installation to suit their material properties and allowable strength

1 BOLT AND NUT

2 SNAP FASTENER

Bolt-and-nut is used to connect the inflatable to the permanent sphere with hard surfaces. This jointing system is chosen for its strength and availability in wide range of sizes. The nut is pre-installed and fixed in the holes on the hard surface of the sphere, so that the bolt can be easily screw and tighten into the holes without the need to handle the nut. It behaves like screw, but it is stronger to deal with tension and compression.

Snap fasterner consists socket and stud, a pair of interlocking discs to fasten fabric and light materials. A circular lip under one disc fits into a groove on the top of the other, holding them fast until a certain amount of force is applied. It is used to fasten the inflatables together as it is very light and can lock and unlock easily.

Pre-fixed nut in the hole

Socket

Stud

Fig 11.7 Bolt and nut connection

Fig 11.8 Snap fastener connection

C.1 TEC TONIC ELEMENTS & PROTOT Y PES: DE TAILING CONSTRUC TION ELEMENTS A3. PERMANENT SPHERE ANCHOR AND SEATS WITH LIGHTINGS

Concrete slab as platform to cast the sphere on the Seats

ground

Lightings fixed on the ground inside the sphere

Fig 11.6 Two joint systems used for the installation to suit their material properties and allowable strength

As the anchor spheres fixed on the ground permanently, the material has to be weather durable and constructed with hard surface. Hence, Polytetrafluoroethylene (PTFE) plastic which have high resistance and performance is considered to be used. The diagram above show the layout of the sphere as if none of the inflatable sphere attached to it. The permanent spheres will be cast into the concrete platfrom and fixed into its position according to the layout and lightings will be installed underneath each sphere as illustrated dotted lines in the diagram (Fig 11.6). The illuminated sphere will contrast with the non-illuminating inflatable sphere as shown on the diagram (Fig 11.7). Fig 11.7 The illuminate permanent spheres and the non-illuminate inflatable spheres on concrete platform ground.

C.1 TEC TONIC ELEMENTS & PROTOT Y PES: PROTOT Y PINGS B1. PROTOTYPING THE INFLATABLE SPHERES MATERIAL SYSTEM For the inflatable sphere, transparent vinyl is chosen to test for its elasticity and durability to withstand high pressure air, that is if the thickness of the material is strong enough to avoid it from bursting or rupture. The material passed the test, however it is the joining between the panels that failed the prototype many times.

JOINING THE PANELS Although sewing was initially considered to join up the panels into sphere, it is not adopted as it creates tiny pores which might be difficult to seal back. In the second attempt, heat sealer was used to seal the vinyl together. However, the panels can still easily tear off and rupture as the temperature is not high enough to seal the thick vinyl. Hence, candle was used to seal the panels and it was found out to be quite successful despite it left some burnt marks.

SEAL BOTTOM AND TOP WITH A VALVE After joining up the panels, the bottom and top of the panels tips had to be sealed with an additional cicle vinyl sheet using hot glue to ensure no leakage at the critical areas. Similarly, inflatable valve inserted at the top using the same method. The hot glue is turned out to be effective as expected in sealing the components to the vinyl.

MODEL SCALE @ 1: 10 91

C.1 TEC TONIC ELEMENTS & PROTOT Y PES: PROTOT Y PINGS B2. PROTOTYPING THE JOINTS

JOINTINGS SYSTEM Due to the fabric like material vinyl, snap fastener was chosen as the jointings for the inflatable spheres. As the snap fastener consists a pair of interlocking discs, socket and stud, they have to be sewn differently on two spheres in order to joint them up. In order words, one sphere sawn with studs and the other sphere sewn with socket, then the two spheres only can be fastened together. Hence, this jointing systems must be used in pair, that is sphere with only studs pair with another sphere with only sockets.

RIGIDITY OF JOINTS The joints are tested by fastening different sizes of sphere for their rigidity. Despite the small sizes of the fasteners, the joints was tight and rigid enough to hold the inflatable spheres together under normal loads. However, the fasteners will detach under heavy loads.

HANDLING THE JOINTS Another reason for using snap fastener is because of its simple “Snap-on” “Pull-off” action. As the inflatable is meant to be modular, this jointing system is relatively easy for user to attach or detach the inflatables.

MODEL SCALE @ 1: 10 92

B3. PROTOTYPING FOR VISUAL EFFECTS REFLECTION & SHADOW OF TRANSPARENT This prototype is a simple quick test, using gum balloon to see the visual effects of the installation when the inflatable spheres pack together. Gum balloon was used as it has similar properties to the clear vinyl plastic which to be used for the real installation. Despite the irregular shapes of the balloon, the test was carried out for its transparency and reflection under different lightings and backgrounds. For this, the balloons were test on both white and black backgrounds to see their contrasts. It is found out that the reflection is more apparent under dark background, while the shadows effects was more appealing with bright background.

INFLATE & DEFLATE Due to the nature of the gum balloon, it deflates quickly because of the atmospheric pressure exerted on it. Some of the balloon deflated, while some stay firmly packing with each other. From this, it was used to imagine the effect of the inflatable spheres when some of the inflatables was deflated. Somehow it turned out to look like plastic bags filled with air due to the wrinkles when it deflate. Although the effects can be vary from the real material as they have different thickness and strength, the test was merely to help to imagine the overall visual effects of the installation.

C.3 FINA L MODEL:

3D ABS (REPRESENTATION) Due to time constraints and the limited technology available to mass produce inflatable spheres, 3D printing was used to fabricate the final model as representation of the form and idea. Two different set of models are produced to represent the permanent sphere which fixed to the ground and the overall impression of the installation with the inflatable attached to the permanent ones. In this final model, lightings are also set up at the bottom of those permanent spheres to show its illuminating effects at night.

c.3 FINA L MODEL: FA BRICATION FARBICATION PROCESS SET UP BASE SUPPORT & MODEL SECTIONS As 3D printing is an additive process in 3-dimensional environment, the printer will auto set up support (Fig 11.1 & Fig 11.3)) for the model to avoid the it from collapsing while the print is running. To avoid material wastage, the model has to be set up in correctly on the print plane by leaving small area at the bottom as base support.

Fig 12.1 Printing the base

Due to limited size of the printer, the 1:50 model does not fit in the printer. Hence, the fabrication of the whole model was taken in five stages with the model printed out section by section.

SHELL PRINT Although the material used was transparent filament, it is found out the transparency of the print can be vary according to the printing settings. At first, solid mode was used to print the model. However, the print was no longer transparent as too many layers of print inside the sphere. Fig 12.2 Shell print

In order to preserve the tranparency of the material for ligthing effects, the model was fabricated with shell method as shown in the photo (Fig 12.2).

LIGHTINGS TEST The shell print out was tested with lightings set up from the bottom (Fig 12.4) to see the effects. Although bright lighting was intended for the installation in the beginning, the diffused effects from the test turn out to be more appealing as it gives a calm and cool mood. Fig 12.3 Shell and support print

Fig 12.4 Lightings test

c.3 FINA L MODEL: plan & ele vation views PERMANENT INSTALLATION MODEL

TOP VIEW

PERMANENT & MODULAR INFLATABLE MODEL

TOP VIEW

FRONT (EAST) FRONT (EAST)

BACK (WEST) BACK (WEST)

LEFT (NORTH)

RIGHT (SOUTH) RIGHT (SOUTH)

MODEL SCALE @ 1: 50 97

c.3 FINA L MODEL: night experience

TOP

FRONT (EAST)

LEFT (SOUTH)

SOUTH EAST

NORTH EAST

EAST AERIAL

RIGHT (NORTH)

FRONT NORTH AERIEL

c.3 FINA L MODEL: RE A LTIME experience

100

101

102

C.4: conclusion

LEARNING OBJECTIVES & OUTCOMES Architecture is always concerning with two fundamental activities: designing and making. Indeed, the two are not mutually exclusive and often affect each other as the project progress from concepts to the development of final form. The is true expecially different techniques or technology applied to the design. In the third phase of the design studio, inflatable and modular become the fundamental keys for the project. The challenge was to modify the definition developed in the previous project to suit a new project which is a modular and inflatable design. From this, it is learnt that parametric is not only for complicated and repetitive designs as what I always thought. The flexibility given by parametric technology allows one to modify the project to a totally new and different design. From a tubular packing design to a sphere packing design indeed it is a big change by just extending the circle packing definition using sphere instead of extuding to tubes. However, the two projects still exist some similarities as packing was the main technique for both designs. The most interesting part of architecture for me is the making part. This is the part where you are using real material and transforming the virtual into real. Although the documentation process for fabrication can be hectic and repetitive, it is worthwhile for increasing accuracy and speed, especially when both digital and analogue were integrated in the fabrication process. As with any design tool, there are limits and tolerances of working with different digital fabrication techniques. For instance, the making of inflatable requires unrolling the sphere panels using digital means for accuracy, however the real inflatable spheres are carefully tailored by hand. Finally, it was grateful that to be given an opportunity to work as a pair in the final part of the design studio. It does not only allow me to learn form my partners, but also allow us to learn how to be accept othersâ&#x20AC;&#x2122; opinion to produce a higher quality work.

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REFERENCES BIBLIOGRAPHY Australian Bureau of Meteorology, Wind: Wind Roses for Selected Locations in Australia (2015) <http://www. bom.gov.au/cgi-bin/climate/cgi_bin_scripts/windrose_selector.cgi> [accessed 16 June 2015]. CERES Community Environment Park, Village Green (2015) <http://www.ceres.org. au/venue-hire/VillageGreen.html> [accessed 16 June 2015].

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