Studioairjournal2 by Li Wei

STUDIO AIR 2016, SEMESTER 2 Wei Li 755414 Matthew Mcdonnell

Table of Contents PART A : CONCEPTUALISATION A1: Design Futuring

A2: Design Computation

A3: Composition Generation

A4: Conclusion

A5: Learning Outcome

A6: Appendix - Algorithmic Sketchbook

Bibliography

PART B : CRITERIA DESIGN B1: Research Field B2: Cast Study 1.0 B3: Case Study 2.0 B4: Technique: Development B5: Technique: Prototypes B6: Technique: Proposal B7: Learning Objectives and Outcomes B8: Appendix - Algorithmic Sketches

PART C : DETAILED DESIGN C0: ‘Part Beta’ C1: Design Concept C2: Tectonic Elements & Prototypes C3: Final Detail Model C4: Learning Objectives and Outcomes

PART A: CONCEPTUALISATION

A.1 Design Futuring

Art By JJasso http://jjasso.deviantart.com/art/MULTI-CITY-41815488

INTRODUCTION

My name is Wei Li, and I am a year two student major in architecture in the Bachelor of Environment.

As an architecture student, I prefer practising my model-making skills and designing rather than analysing constructural stuffs (which are the compulsory components of studying architecture). My favourite architecture style is thoroughly modernist and I. M. Pei is my favourite architect. I am just a starter at using Grasshopper (by learning from videos posted on Wiki), so I wish to be more familiar in using it by learning studio Air to further enhance my model fabrication skills.

CONCEPTUALISATION

Previous Projects

Digital Design And Fabrication Sleeping Pod

Architecture Design Studio: EARTH A Place To Keep Secrets

Architecture Design Studio: EARTH Frame And Infill CONCEPTUALISATION 7

Kežmarské Hut Location: Northern Slovakia Designer: Atelier 8000

“This relationship between crea

Project Year: Unbuilt Source: Designboom 2016

This futuristic architecture designed for an

international competition was proposed to be a lodge located in the high Tatra mountains of Slovakia. It is to be to be made out of special materials such as aluminium, glass and solar panels. It has also been designed in such a way to maximise absorption of solar energy, thus contributing to the cause of promoting sustainability1. In terms of architecture, this building is positioned amongst the landscape as ‘part of a retreating glacier’, which aims to blend into its rocky surroundings2. A strong concept of this project is sustainability. The designers have come up with various ways to amplify and practise environmental-friendly living conditions. For instance, “this structure is intended to be a sustainable dwelling for high terrain adventurers during all seasons of the year, able to perform autonomously in regards to energy usage.1” As natural resources have been depleting at an alarming rate; mainly due to irresponsible human actions, it is important to know how the application of design can help overcome sustainability issues. If utilised properly, design can help reduce the speed of this to conserve the current state of nature3.

1 Trent Fredrickson, “atelier 8000 angles kezmarska hut on one corner in slovakian mountains” http:// www.designboom.com/architecture/atelier-8000-kezmarska-hut-slovakia-10-12-2014/ 2 Matt Watts, “Kezmarska Hut by Atelier 8000” https://homeadore.com/2014/10/15/kezmarska-hut-atelier-8000/ 3 Fry, Tony (2008). “Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1-2 http://saadiyatculturaldistrict.ae/en/saadiyat-cultural-district/zayed-national-museum/Architectural-Design-zayed-national-museum/ 8

CONCEPTUALISATION

ation and destruction is not a problem when a resource ios renewableâ&#x20AC;?

Figure: http://www.designboom.com/architecture/atelier-8000-kezmarska-hut-slovakia-10-12-2014/

CONCEPTUALISATION 9

Zayed National Museum Location: Saadiyat Island, Abu Dhabi, UAE Architect: Foster + Partners Project Year: In Progress Source: Dezeen

CONCEPTUALISATION

A conceived monument and memorial

designed to pay homage to the late Sheikh Zayed bin Sultan Al Nahyam1, this ethereal design by the award-winning British architects Foster and Partners was the result of an international design competition involving the participation of twelve major architectural firms from ten different countries. Drawing inspiration from his love of falconry, the design gracefully incorporates the dynamic of flight as well as the feathers of a falcon2. Originally planned to be completed by 2016, the construction has only began in July 2016 due to several reasons; such as sandy ground conditions as well as conservatism in Abu Dhabi’s government planning following the bailout of Dubai and revolts in the country 3. By consolidating natural ventilation as well as lighting in the five towers, this building is also designed to further reduce energy usage by utilizing photovoltaic panels and heat exchange technologies. Once completed, the Zayed National Museum will be “surrounded by a beautifully landscaped garden where landscaping, planting and installations will explore key moments in the life of Sheikh Zayed and his transformation of the UAE.” This design would ultimately capture and preserve the essence of the rich cultural heritage of the UAE to be displayed to tourists from all over4.

1 Foster + Partners, “Abu Dhabi, United Arab Emirates 2007”, http://www.fosterandpartners.com/projects/zayed-national-museum/ 2 Zayed National Museum, “Zayed National Museum”, http://www.zayednationalmuseum.ae/architecture.html 3 Anthony Shadid, “An Ambitious Arab Capital Reaffirms Its Grand Cultural Vision” `http://www.nytimes.com/2012/01/25/world/middleeast/abu-dhabi-reaffirms-its-grand-plan-for-museums.html?_r=0 4 Saadiyat Cultural District, “ARCHITECTURAL DESIGN” http://saadiyatculturaldistrict.ae/en/saadiyat-cultural-district/zayed-national-museum/Architectural-Design-zayed-national-museum/

CONCEPTUALISATION 11

A.2. Design Computation The computer is undoubtedly a fascinating invention

that has conquered a place in our daily lives. Following the era of computers and computation, digital technologies are redefining architectural practices in ways unimaginable just a decade ago1. “In the conceptual realm, computational, digital architectures of topological, non-Euclidean geometric space, kinetic and dynamic systems, and genetic algorithms, are supplanting technological architectures.” In the recent years, advances in computer-aided design (CAD) technologies has vastly improved the quality and efficiency of the designing and construction industries. These advances open up new possibilities by permitting the production and construction of intricate forms that were previously near impossible to design, produce and assembly using conventional construction technologies1. Computation is revolutionizing the practice of architecture. Architects can develop new digital tools that opens up new possibilities for design process, fabrication and construction2. The advancement of CAD technologies could ultimately redefine the architecture practice. Compared to hand drawings, CAD helps the designer save much time yet produce more realistic work, avoid costly mistakes and also gain more precision and control over the design3. “Hand drawings charm the clients, especially if they watch you drawing.” - Flavia Quintanilha, ArchDaily

However, addiction, students, architects

this could in turn promote computerespecially among new architects and potentially creating a new generation of without creativity.

Thus, it is still important to strike a balance between analog and digital work as being adept in both components is essential in carving an architect’s success 4.

1 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p. 3 2 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, p. 10 3 Antonio Pascucci , “Benefits of 3D CAD for Architects, Designers and Engineers”, http://blog.3dconnexion.com/blog/bid/250894/Benefits-of-3D-CAD-for-Architects-Designers-and-Engineers 12

CONCEPTUALISATION

4 D.Guney, “The Importance of Computer-aided Courses in Architectural Education” http://www.sciencedirect.com/science/article/pii/S1877042815005741

SHELLSTAR PAVILION Location: Wan Chai, Hong Kong Designer: Andrew Kudless / Matsys Project Year: 2012 Source: matsysdesign

CONCEPTUALISATION 13

The

Shellstar Pavilion is a lightweight temporary pavilion that maximizes its spatial performance while minimizing structure and material. Commissioned for Detour 2012, an art and design festival in Hong Kong, this project employs the use of CAD tools such as Rhino, Grasshopper, Kangaroo, Python, Lunchbox and Rhinoscript. With all these tools, the project was completed in just under 6 weeks of design, fabrication and assembly. The design process can be broken down into 3 processes that were made possible by presentday digital modeling techniques: Fabrication Planning Python scripts were used to prepare the cells for fabrication. The cell flanges and labels were automatically added and the cell orientation was analyzed then rotated to align the flutes of the Coroplast material with the principal bending direction of the surface1.

Form-Finding The form emerged out of a digital form-finding process based on the classic techniques developed by Antonio Guadi and Frei Otto, among others. Using Grasshopper and Kangaroo plugins, the form “selforganizes into the catenary-like thrust surfaces that are aligned with the structural vectors and allow for Surface Optimization The structure is made up of about 1500 individual cells that are all slightly non-planar. In fact, the cells are supposed to bend slightly to take on a curved form. The cells cannot be too non-planar as well since this would make it hard to cut them from flat sheet materials. “Using a custom Python script, each cell is optimized so as to eliminate any interior seams and make them as planar as possible, greatly simplifying

“This is an age in which digitally informed design can actually produce a second nature.” - Rivka and Robert Oxman

CONCEPTUALISATION

1 Matsys Design, “SHELLSTAR PAVILION” http://matsysdesign.com/2013/02/27/shellstar-pavilion/

CONCEPTUALISATION 15

ArboSkin Pavilion Location: Stuttgart, Germany Designer: ITKE Project Year: 2013 Source: Materialist

The collaboration between students and professors

of Stuttgart University’s Institute of Building Structures and Structural Design (ITKE) produced the ArboSkin, a pavilion “composed of stud-like bioplastic panels containing over 90 percent renewable materials”. From the project team: “Thermoformable sheets of bioplastics will represent a resource-efficient alternative [to oil-based plastics, glass, or metal] in the future, as they combine the high malleability and recyclability of plastics with the environmental benefits of materials consisting primarily of renewable resources.” The bioplastic granulate is made into a sheet, which is then thermally formed into a pyramid. The excess sheet is then sawed off using a band saw and taken to a CNC mill to cut out apertures in the modules. This advantage of this is that the excess portion could be re-granulated and fed back into the process, allowing for versatility and ease of usage. After producing the basic modules, they are then assembled using bracing rings and joists1.

1 Aiysha Alsane, “ArboSkin Pavilion | Institute of Building Structures and Structural Design (ITKE)” http://www.arch2o.com/arboskin-pavilion-institute-of-building-structures-and-structural-design-itke/

A.3. Composition / Generation

CONCEPTUALISATION

NonLin/Lin Pavilion Location: Stuttgart, Germany Designer: Marc Fornes & The Very Many Project Year: 2011 Source: dezeen

Building onto the discussion of the

Parametric modelling involves the previous subtopic; with regards to the utilization of a design feature called shift from composition to generation, ‘parametrics’, a method of joining dimensions and variable to a certain there are several key concepts such geometry. A parameter is a variable as algorithmic thinking, parametric modelling and scripting cultures. that is related to other variables, and these other variables are Algorithmic thinking involves obtainable by parametric equations. undertaking an ‘interpretive role’ This way, design modifications to perceive the outcomes of the and creation of a family of parts ‘generating code’, knowing how to can be performed in very quickly change the code in order to traverse compared with the redrawing new options and speculate on further required by traditional CAD2. design potentials. It is now the era where architects create software instead of merely using software1.

In general, computation has the potential to inspire and go beyond the intellect of the designer, just as other techniques of architectural design, by the generation of unexpected results. For instance, when an architect designs something, further options can then be explored through modifications to the program [sketching by algorithm]1.

“Computation is the processing of information and interactions between elements which constitute a specific environment ” - Sean Ahlquist and Achim Menges

Imitating the structure of a huge coral, French architect Marc Fornes of The Very Many produced a computer-generated perforated aluminium pavilion; the NonLin/Lin Pavilion. This architecture is a prototype that engages a series of architectural experiments referred to as ‘text based morphologies’ 3.

“Beyond its visual perception of sculptural and formal qualities, the prototypes are built forms developed through custom computational protocols. The parameters of these protocols are based on form finding surface relaxation, form description composition of developable linear elements, information modeling re-assembly data, generational hierarchy distributed networks, and digital fabrication logistic of production.” 3

1 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, p. 10 2 Nick Easton, “Message - Parametric Design Definition” http://www.designcommunity.com/discussion/25136.html 3 Amy Frearson, “NonLin/Lin Pavilion by Marc Fornes/ and The Very Many” http://www.dezeen.com/2011/08/02/nonlinlin-pavilion-by-marc-fornes-the-very-many/ 4 Nacasa&Partners Inc, “amano design office: dear ginza bldg. Project”, http://www.designboom.com/architecture/amano-design-office-dear-ginza-bldg-project/

CONCEPTUALISATION 19

Dear Ginza Building Location: Ginza, Tokyo Architect: Amano Design Office Project Year: 2013 Source: designboom

a densely-populated city such as Tokyo, the crowding of high-rise buildings in the city central in a very common sight. These large and tall buildings often have their backs turned on small streets and alleyways, creating an unwelcome atmosphere for pedestrians. This new commercial development aims to attract visitors to this particular back-end street.

“A double skin structure was employed, as views from the interior offer limited visual delight.” This sustainable design feature is made up of glass curtain walls with graphically treated aluminum punched metal. Computer algorithms are used to determined the irregular form, thus reducing the need for air conditioning. Also, “the existing context consists of mostly horizontal and vertical geometric shapes, and the new folded facade demands attention with its seemingly random exterior.”1

CONCEPTUALISATION

1Nacasa&Partners Inc, “amano design office: dear ginza bldg. Project”, http://www.designboom.com/architecture/amano-design-office-dear-ginza-bldg-project/

CONCEPTUALISATION 21

A.4. Conclusion The main takeaway from Part A is “Conceptualisation”. That is, “What is to be built..?” as well as “How it will be built…?”. A concept should embody the overall theme of our projects. Generally, as architects we are quite responsible for preserving our current state of nature. Thus, it is important to keep sustainability in mind when designing our projects.

Also, the era of computation has greatly benefitted the design and construction industries. Although there may be some disadvantages, the advantages greatly outweigh them. Nevertheless, it is up to the discipline of the architect in order not to fall into a spiral of “computeraddiction”, leaving him without a touch of creativity left. Furthermore, computation has allowed us to better understand and visualise the fabrication of materials and our projects, thus we could go beyond our past limitations in order to form a more well-developed project. This also in turn enables us to design something more sustainable as we are more informed of the material uses.

CONCEPTUALISATION

CONCEPTUALISATION 23

A.5. Learning Outcomes With

no prior experience in Grasshopper, I have definitely run into many problems along the way. For the past three weeks, fiddling around with Grasshopper has proved to be pretty tedious, especially because of the many different plug-in tools (many of which has similar names yet different functions - thus I’ve learnt to look at the icon instead). In contrast from when I started Rhino, it is pretty difficult to try out the myriad of functions by myself. Thus, I had to strictly follow the tutorials step-by-step. Furthermore, the program version used by the demonstrator in tutorial videos is probably different from the ones installed in labs. So, there’s one difficulty there itself as certain components’ name vary in different versions of the program. By learning from the tutor in class and online videos, I have tried to understand the usage of each component so that in the future I may confidently employ the use of Grasshopper. In fact, I find Grasshopper to be very convenient in being able to construct something. Thus, I am very motivated to try my best to learn as much as possible so that I can better explore the world of Grasshopper by myself in the future. In one of my previous semester’s subject Digital Design and Fabrication, had I known how to utilise Grasshopper then, I would be able to produce my model prototype much easily by using Grasshopper’s Contour function. It would also be much easier to be sent for Laser cutting as accuracy is more guaranteed.

CONCEPTUALISATION

CONCEPTUALISATION 25

A.6. Appendix - Algorithmic Sketchook

CONCEPTUALISATION

From the previous weeksâ&#x20AC;&#x2122; learnings from online videos and tutorials. I â&#x20AC;&#x2DC;ve found some interesting tools by doing grasshopper and the work are shown left. They are Triangulation Algorithms, Curve menu and Transform menu fro up and down respectively. Triangulation Algorithms is one of my favourite because after baking the structure from grasshopper to rihno, It could be easy to remove or add some of its components (the columns on the left figure as an example). Then, It woud be helpful as constructing some complex structures(or building) while using rino and form a better perspective view. However, because of the unfamiliarity for using grasshopper, I could only follow the video process without thinking some various way of forming the structure.

CONCEPTUALISATION 27

Bibliography Amy Frearson, “NonLin/Lin Pavilion by Marc Fornes/ and The Very Many” http://www.dezeen. com/2011/08/02/nonlinlin-pavilion-by-marc-fornes-the-very-many/ Aiysha Alsane, “ArboSkin Pavilion | Institute of Building Structures and Structural Design (ITKE)” http:// www.arch2o.com/arboskin-pavilion-institute-of-building-structures-and-structural-design-itke/ Antonio Pascucci , “Benefits of 3D CAD for Architects, Designers and Engineers” http://blog.3dconnexion. com/blog/bid/250894/Benefits-of-3D-CAD-for-Architects-Designers-and-Engineers Anthony Shadid, “An Ambitious Arab Capital Reaffirms Its Grand Cultural Vision” http://www.nytimes.com/2012/01/25/world/middleeast/abu-dhabi-reaffirms-its-grand-plan-for-museums.html?_r=0 D.Guney, “The Importance of Computer-aided Courses in Architectural Education” http:// www.sciencedirect.com/science/article/pii/S1877042815005741 Foster + Partners, “Abu Dhabi, United Arab Emirates 2007”, http://www.fosterandpartners.com/projects/zayed-national-museum/ Fry, Tony (2008). “Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) pp. 3-62 Matsys Design, “SHELLSTAR PAVILION” http://matsysdesign.com/2013/02/27/shellstar-pavilion/ Matt Watts, “Kezmarska Hut by Atelier 8000” https://homeadore.com/2014/10/15/kezmarska-hut-atelier-8000/ Nacasa&Partners Inc, “amano design office: dear ginza bldg. Project”, http://wwwdesignboomcom. architecture/amano-design-office-dear-ginza-bldg-project/ Nick Easton, “Message - Parametric Design Definition” http://www.designcommunity.com/discussion/25136.html 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 Saadiyat Cultural District, “ARCHITECTURAL DESIGN” http://saadiyatculturaldistrict.ae/en/saadiyat-cultural-district/zayed-national-museum/Architectural-Design-zayed-national-museum/ Trent Fredrickson, “atelier 8000 angles kezmarska hut on one corner in slovakian mountains” http:// www.designboom.com/architecture/atelier-8000-kezmarska-hut-slovakia-10-12-2014/ Zayed National Museum, “Zayed National Museum”, http://www.zayednationalmuseum.ae/architecture.html

CONCEPTUALISATION

CONCEPTUALISATION 29

PART B: CRITERIA DESIGN

B.1. Reserch Field GEOMETRY Geometry

has long become an important concept that plays a vital role in shaping our surroundings and environment. Geometry exists in virtually everything that we can see; in nature and all things man-made. There exists certain elements, when used efficient, plays a role in nurturing our minds. These include harmony and balance, light and colour, relationship to landscape as well as ecological sympathy. Essentially, this can be done by uniting us with the environment. At the base of it all, geometrical forms can be used to unite these elements, creating an environment that can boost our inner and outer perceptions, thus bringing us closer to nature.

Thus, by applying geometry to implement these harmonious elements in architecture and integrate them into our daily lives (e.g buildings, sculptures and architecture), we can be nurtured, motivated and energised as there would exist the presence of positive vibes surrounding both our homes and workplace. As such, geometry could have a pronounced effect on our wellbeing, both mentally and physically1.

â&#x20AC;&#x153;Architecture begins with geometry 2 .â&#x20AC;? With that said, there is essentially a close relationship between geometry and architectural design. As geometry is the fundamental science of forms and their order, geometricity forms the basis of architectural design. In the past, proportions were observed from nature and eventually deemed to be able to produce a sense of harmony in architecture. As Pythagoras puts it, there were many general principles for harmony. These were applied in architecture and further developed during the Renaissance period. Leon Battista Alberti applied such harmonic proportion rules in his architecture work and later conceptualised them into his buildings. Apart from them, another respectable scientist of the 17th century, Johannes Kepler, spent much of his time researching for the principles of harmony in the world. Essentially, these principles were based on geometry. With respect to these principles, architectural design is based on geometric structures which are formed out of idea of transformations3.

Now with the aid of modern parametric modelling tools such as Grasshopper, both regular and irregular geometrical forms alike can be easily formed. Rather than spending time on conceptualising a design and worrying about the precision and stability of it, architects can focus more on the design itself as well as these theories surrounding geometrical harmony. This way a design that takes advantage of such theories that can provide much aesthetic pleasure and comfort to people can be produced.

1 http://www.labyrinth.net.au/~jkoch/sacred.html 2 http://architecture.about.com/od/ideasapproaches/a/geometry.htm 3 https://www.researchgate.net/publication/237544451_GEOMETRY_CONCEPTS_IN_ARCHITECTURAL_DESIGN

Precedent Project Suzhou Museum Location: Suzhou, Jiangsu Province, China Architect: I. M PEI Project Year: 2006 Source: Google Arts & Culture

CRITERIA DESIGN

relation to more recent architecture, in

the Great Hall of the Suzhou Museum,the framing elements of its ceiling is made up of squares and triangles. This is the essence of I.M Pei’s concept of “allowing the light to make the design.” This could show how geometry can evoke a sense of brightness and happiness in architecture1.

“ Geometry is the area of mathematics that deals with points, lines, shapes and space2 .” 1 https://www.google.com/culturalinstitute/beta/exhibit/suzhou-museum-an-i-m-pei-masterwork/ 2. https://www.mathsisfun.com/definitions/geometry.html CRITERIA DESIGN

B.2. Case Study 1.0 GreenVoid Location: Customs House, Sydney Architect: Laboratory for Visionary Architecture (LAVA) Project Year: 2008 Source: Dezeen

CRITERIA DESIGN

The

Green

Void

installation

was

commissioned by Jennifer Kwok, the manager of Customs House for the multidisciplinary

program

featuring

contemporary architecture, photography and multimedia exhibitions. The green lycra installation is an example of a successful design which utilises parametric modelling. By using lightweight fabric and the newest digital fabrication techniques, the concept of “create more with less” could be realised. To illustrate this

fact,

the

installation

covers

enclosed space of 3000 cubic metres with a surface area of 300 square metres and

similar to a spider web or a coral reef” 2. When one thinks of geometry, images of regular shapes and polygons are more likely to come up, such as spheres and cubes. However, there is so much more to geometry instead. This is the reason why I chose this case study, as it is very abstract and free-forming. By using this as a base for my grasshopper iterations, I can create even more abstract variations which has their own special and interesting characteristics. This would certainly be more eye-catching than simply the regular geometry when coming up with a design.

uses a mere 40kg of lightweight material1. By heavily relying on parametric modelling tools, the installation’s asymmetrical and somewhat peculiar shape was not explicitly designed but rather determined by the most coherent connection of different boundaries in 3-D space. Connection points were determined and the surface was constructed based on a mathematical to get a minimal area. Further contributing to the success of this installation was the choice of a flexible material that “follows the forces of gravity, tension and growth,

1. http://www.dezeen.com/2008/12/16/green-void-by-lava/ 2. http://www.l-a-v-a.net/projects/green-void/ CRITERIA DESIGN

Legends: : 1st Species : 2nd Species : 3rd Species 36

CRITERIA DESIGN

3rd Species

Original

CRITERIA DESIGN

4th Species

CRITERIA DESIGN

The

iterations

were

developed

from

provided

grasshopper definition that produces the Green Void form. Species 1 to 4 generally makes use of the basic tools from the ‘Kangaroo’ plug-in. The live simulation component of this plug-in creates randomness which can help in producing more varied iterations. Species 5 uses extra plug-ins such as the ‘Weaverbird’ and Human’. The main technique of Species 1 is obtaining the form at different times while the live simulation is still running. Species 2 and 3 continues off from Species 1, however more parameters are adjusted, such as the number sliders. Also, sometimes different part of the original form’s curves or points were referenced into grasshopper in order to get different and varied outcomes. In species 4, the ‘Kangaroo’ plug-in is still utilised, but with more varied functions, such as anchor points and tensile force. Species 5 is the most varied among them all. This species adds upon the results of Species 4 and uses extra plugins such as ‘Weaverbird’ to create the patterning and ‘Human’ to map texture on the form.

CRITERIA DESIGN

Selection Criteria Keeping the project brief in mind, certain criteria have been decided upon to analyse the iterated results, in order of importance:

1) Flexibility/Modifiability - Given that the project is located upon a heritage site, care must be taken in order to preserve and maintain the current buildings. As such, it would be good to be more creative and abstract with the shape in order to better fit in with the current condition of the site.

2) Constructibility - Despite having an abstract shape and geometry, the structure should still be possible to construct given a specific amount of resources and time.

3) Aesthetic appeal - The structure should be pleasing to view in order to benefit from the advantages that geometry can provide.

CRITERIA DESIGN

Speices 1: - Can be made into a pavilion (as the roof of the pavilion); the many different panels could create interestingly-shaped shadows for people to rest in. Flexibility - 3/5 Constructability - 4/5 Aesthetic appeal - 3/5

Speices 2:

- Could be placed along corridors; transparency created for different uses. For instance, the creation of shades and shadows and providing a sense of space thus making the space be more geometric. Flexibility - 3/5 Constructability - 5/5 Aesthetic appeal - 3/5

Speices 4:

This iteration is very abstract, and as such would probably be able to fit in the current site very easily. Also, this shape could utilise space more efficiently. The lines on this mesh also looks more straight than the rest, so it would probably be easier to construct. Flexibility - 5/5 Constructability - 3/5 Aesthetic appeal - 4/5

CRITERIA DESIGN

Speices 5:

- The â&#x20AC;&#x2DC;Humanâ&#x20AC;&#x2122; texturing when made in real could be very aesthetically pleasing to view, as it could provide more visual effect to be viewed. Also, the choice of colour (that is hues of blue) is very calming. Flexibility - 4/5 Constructability - 2/5 Aesthetic appeal - 5/5

CRITERIA DESIGN

B.3. Case Study 2.0 Montreal Biosphère Location: Montreal, Canada Architect: Buckminster “Bucky” Fuller Project Year: 1967 Source: ArchDaily

CRITERIA DESIGN

The magnificent geodesic dome is located

As an aside, this shows us how critical

in an open area of the Parc Jean-Drapeau

it is to choose the right materials when

in Montréal, overlooking the St Lawrence

designing a large-scale project.

river. This unique piece of architecture

Initially, this architecture was built for the

was meant to unite mankind and nature;

Expo 67 to showcase American culture.

encouraging the former to handle the

Once the Expo ended, the building was

environment

used as a centre for hosting private

responsible

manner.

events. After the unfortunate fire, only the

Boasting a diameter of 76 meters and a

steel structure remained intact. In 1990,

height of 62 meters, the volume generated

the Biosphère was refurbished into an

by this spherical structure could even

environmental museum.

contain

that

In general, the Biosphère has been quite

exhibits the many elements of the design.

successful in fulfilling its purpose, apart

The dome is an icosahedron (a 20-sided

from the fire in 1976. Nevertheless, when

shape) produced by the scattering of

functioning as an environmental museum,

pentagons into a hexagonal grid. These

it has still fulfilled its original intent, that is

faces are then subdivided into a series

to elevate the relationship between human

of equilateral triangles. The structure

and nature. This shows the importance of

is created entirely of 3-inch steel tubes,

being innovative in order to be adapt to

welded at the joints and thinning towards

our surrounding conditions3.

seven-story

building

the top of the structure in order to disperse the force evenly among the structure. This structure is then sheathed in a translucent acrylic membrane1. However, eventually in 1976, the membrane was destroyed by a fire due to an accident during a routine welding maintenance2.

1. http://www.archdaily.com/572135/ad-classics-montreal-biosphere-buckminster-fuller 2. http://www.atlasobscura.com/places/biosphere-of-montreal 3. http://untappedcities.com/2013/02/08/quirky-buildings-montreal-expo-67/ CRITERIA DESIGN

Reverse Engineering

(1) Draw a sphere on Rhino

(2) Cut off one third of the sphere from the bottom and reference it into Grasshopper

(3) Create triangular panels on the surface (using ‘Triangle Panels C’)

(4) Create a space truss structure on the surface from the u and v values obtained in previous step (using ‘Space Truss Structure 1’); - this gives four outputs - LinesA, LinesB, Web and Nodes

CRITERIA DESIGN

(5) Use pipes to create the base structure; apply on LinesA, LinesB and Web Generally, (as seen in the picture on right) the overall shape and structure, that of the Biosphère’s geodesic dome, has been successfully replicated. However, it was pretty impossible to replicate the exact number of steel tubes in the dome in order to create a denser look, as having such a big input would potentially cause the Grasshopper to crash. Also, despite successfully recreating the geodesic dome, the structure produced still varies from the original Biosphère in terms of the polygonal shapes and number of sides.

Apart from that, had there been no constraints (the original form) to follow, I would have added in spherical nodes (as shown in the picture on the right) at the outer joints of the dome, intending to add some aesthetic appeal to the joints of the structure and possibly further stabilising the structure.

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B.4. Technique Development

Wireframe

Cone Joints

Less dense (Exoskeleton)

Morph Box (on web)

Points

Gridshell Loft

Loft frm Gridshell square grid Planar Surfaces (Frames - Loft (dif order) Gridshell L Web) (Facet Dome)

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square grid

Paneling Tool

WB Triangles Subdivision on Paneling + WB Split Polygons Joints

Gridshell Pipes

Loft (dif order) + WB Inner

Gridshell WB Serpinski

Exoskeleton

Loft (dif order)

Voronoi3D frm Ori (Points)

Polygons

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Exoskeleton + Sphere joints

Ball Joints (Nodes)

graph mapper + interpolate

Extrude Pipe

Thickening One of Pipe parameters

Field Line

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Random Reduction

Planar Surfaces (Frames)

WB Offset Mesh

Loft frm Gridshell square grid + Wb sierpinski triangles

Loft (dif order) Gridshell square

(Voronoi3D frm Ori (Points) +

grid + Wb split triangles

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addjust thickness of pipes

edgesurfaces

weboffset 52

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edge srf + triangular quad + random reduce

edgesurfaces + human

Random Reduction of Nodes + Diamond Paneli

Random Quad Panels + Random Reduce

ing

edge srf + wb sierpinski triangles + diamonds

Hexagonal Structure (Hex) - y division (1)

Hexagonal Structure (Hex) + Plane Srf

edge srf + stagger quad

edge srf + stagger quad + offset CRITERIA DESIGN

edge srf + stagger quad + triangular quad +

kangaroo physics

random reduce

staggered quad + subdivide quad

edge srf + wb inner polygons + diamonds

planar surface + offset plane 54

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triangle panels (c)

mesh sphere

Quad Panel on surface (more rectangular look)

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Selection Criteria Similar to the process of Case Study 1.0, and building on the geometry of the reverse engineering process, various methods and plugins have been used to further create new iterations. The same selection criteria as per Case Study 1.0 is chosen to evaluate to suitability of the iterations; flexibility/modifiability, constructability as well as aesthetic appearance. 1) Flexibility/Modifiability - Given that the project is located upon a heritage site, care must be taken in order to preserve and maintain the current buildings. As such, it would be good to be more creative and abstract with the shape in order to better fit in with the current condition of the site. 2) Constructibility - Despite having an abstract shape and geometry, the structure should still be possible to construct given a specific amount of resources and time. 3) Aesthetic appeal - The structure should be pleasing to view in order to benefit from the advantages that geometry can provide.

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WB Triangles Subdivision on Joints

- Similar to the structure of biosphĂŠre; looks like it could be the cover of something; easy to construct (compared to most other iterations) Flexibility - 2/5 Constructability - 4/5 Aesthetic appeal - 2/5

weboffset - Concept focused on shapes, something crossing each other, panels & surfaces; the basic shape in the inspiration for the second prototype Flexibility - 4/5 Constructability - 1/5 Aesthetic appeal - 4/5

edge srf + stagger quad + offset - Conceptual; give others the feeling of being surrounded and the existence of hidden spaces Flexibility - 5/5 Constructability - 1/5 Aesthetic appeal - 5/5

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B.5. Technique Prototype In developing prototypes, a range of methods could be taken, that ranges from laser cutting to 3-D printing. However, I chose to produce my prototype by hand. Despite not being able to produce a precisely accurate model, I believe that being able to play around with a bigger variety of materials could make up for the lack of accuracy. For instance, I have used polystyrene balls and skewer sticks in my following prototypes, both of which I would not have been able

to manipulate using digital fabrication methods. Nevertheless, being exposed to parametric

modelling for the species iterations has enabled me to better visualise and made me think more creatively about my prototypes.

1st Prototype Main materials: Polystyrene balls, timber rods, skewer sticks This prototypeâ&#x20AC;&#x2122;s form is inspired from the Montreal BiosphĂ¨reâ&#x20AC;&#x2122;s structure. With the addition of spherical nodes at the joints, the polystyrene balls act as a binding tool for the timber rods. By piercing the ball with a slightly-sharpened edge of a timber rod, a hole is created to insert the rods. By swiftly sliding a rod between two polystyrene balls, a stable structure that could be likened to a dumbbell is formed. More rods and balls are added to create a more tetrahedral form. However, with the addition of more rods, there exist more friction between the balls and rods, thus causing the holes (which the rods are inserted into) to widen. This ends up de-stabilising the structure. 58

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To counter this, UHU glue was used to try and bind the rods to the ball. After drying, the structure is much more stable. However, another problem arose after that; for the holes that are too shallow, the glue â&#x20AC;&#x153;eats awayâ&#x20AC;? at the polystyrene, leaving an uneven surface such as the picture on the right. After replacing the polystyrene balls that were affected, some more skewer sticks were added to two sides of the structure. This is mainly to add towards its aesthetic appeal.

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2nd Prototype

Shadow Casting 60 CRITERIA DESIGN

Main materials: Black foamcore cardboard, skewer sticks This prototype is designed after being inspired from the 50 iterations for Case Study 2.0 as well as its selection criteria. In contrast with prototype #1, I wanted to create something that, albeit is stable, is also more mobile, in the sense that it is movable. I also wanted to potentially create something that is interesting to look at. Square pieces of the black foamcore cardboard (referred to as a â&#x20AC;&#x2DC;black squareâ&#x20AC;&#x2122; from now on) were cut. Then, a skewer was used to pierce through the middle of a black square. This is repeated and then several of those are joined together in the middle part of the skewer. During the middle stages of constructing this, a piece of string was used to tie these group of skewers together to allow for easier construction. Later, more skewers and black squares were added to the structure, allowing for the string to be hidden. Finally, short pieces of skewers were attached between two skewers at the bottom end to stabilize the structure. As desired, the mobility of the structure was achieved. However, for when it is to be constructed in real, perhaps more measures need to be considered to limit the mobility of the structure to prevent it from toppling over.

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Shifting Perspectives

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B.6. Technique Proposal

site plan Site: Abbotsford Convent - Sacred Heart Courtyard Client: Abbotsford Convent in collaboration with Shadow Electric Program: Mixed mode event space including outdoor cinema, music stage, food and beverage offering Proposal: Modelling a movable pavilion overhead the courtyard area, where a stage would be set up and used as the event space Can possibly accommodate up to 200 - 300 guests.

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Prototype 1 This structure could be designed in such a way to function as a piece of furniture. For instance, the side of the structure with many skewers can be used as a seat, or potentially as a table too, with the addition of more skewers; enough to make an almost-full surface. Suggested material could be bamboo of varying thickness; thicker for the parts of timber rod while the thinner ones for the parts of skewer sticks. This would make for a sturdy structure and it would be aesthetically good as well. As for the spherical joint connections, it could be possible to use rattan weaved into ball-like structures. In the case that it is too soft, more layers of rattan could be used to increase the density.

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Prototype 2 This prototype is designed to be that of a movable

while and enjoy their time in a seemingly di

pavilion/roof structure. As Abbotsford Convent is a

world, as though they were in a time capsule

heritage site, it would be best to use a design that could potentially minimise the damage caused to

Furthermore, the structure can also be adjus

the existing structures when constructed.

be facing different angles and positioned at di

This design aims to achieve that goal. By consisting

heights. During a windy day, the structure co

of several “sticked-roof” joined together at the middle

adjusted at varying angles, say around 45 de

(this acts as a connection and center of rotation),

to block against the wind.

this structure can be as flexible or as sturdy as needed, without relying too much on the existing

The drawback of this design could be the diffic

buildings for support. The black squares act as the

constructing the structure itself; the position o

roof to shelter the people beneath.

“sticked-roof” needs to be carefully calculate

Furthermore, the outer structure looks rather

observed in order for the structure to suppor

aggressive (the tips of the “sticked-roof”). In

without relying too much on the existing struc

this sense, it could possibly ward off potentially

Another difficulty would be the choice of su

unwelcome guests and intruders; such as preventing

materials. Nevertheless, the functionality o

the nesting of birds in the area.

once implemented, would very much outwei

The specialty of this design revolves around

difficulty of the construction.

its mobility. For instance, On a day with heavy downpour, the structure could be contracted to

Materials suited to be used for the roof p

shelter people from the rain. During a sunny day,

this structure could be something that is

the structure could be spread open to produce

waterproof and something that has the proper

interesting patches of shadows below, which acts

photochromic lens; under strong UV rays, it

as the shade. The “sticks” would sway just very

turn black, while otherwise, it would remain

slightly, producing a dreamy effect as the shadows

This is so that more light can be passed th

sway back and forth. This could help the users of the

during a cloudy day while more shade cou

space forget about the concept of time for a short

produced during a sunny day.

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ifferent

Another suitable material could be something that is

translucent. This could perform the same function of the photochromic lens albeit less efficiently. As

sted to

for the â&#x20AC;&#x153;sticksâ&#x20AC;?, a lightweight and non-rusting metal

ifferent

material would be the best choice.

ould be

egrees,

culty of

of each

ed and

rt itself

ctures.

uitable

of this

igh the

part of ideally

rties of would

n clear.

hrough

uld be CRITERIA DESIGN

B.7. Learning Objectives and Outcomes Objective 1 - “interrogating a brief” In relation to this objective, we have been exposed to a project brief and taught to make use of the various parametric modelling tools. In this sense, I have tried to explore the various methods of digital fabrication and how I could apply them to my design. Nevertheless, I ended up using the traditional way of making my models by hand instead as I believe that I have a more options when it comes to material choosing. In the future, I will try to employ the use of digital technologies instead. Objective 2 -

“an ability to generate a variety of design

possibilities for a given situation” Studio Air has introduced us to various new designing possibilities with the addition of the Grasshopper tool. Variation can easily be achieved and extensive design-space can be successfully explored. For instance, with just a change of a single numeric parameter input, a vastly different object could be produced. While following the weekly online tutorials, I have also made it a habit to adjust some of the parameters to obtain many different variations of the final product; and as such, the possibilities are endless. Objective 3 - “skills in various three-dimensional media” By following the Online Resources diligently every week, I have managed to pick up on new Grasshopper skills and am basically more familiar with Grasshopper in general. As my interest has been aroused, I also occasionally search and try out other additional tutorials. It is this way that I have managed to learn about the ‘Weaverbird’ and ‘Human plugin for Grasshopper. 68

CRITERIA DESIGN

Objective 4 - “an

between architectu

Initially, I always won

“Air”. Applying my k so far, I now realise

creating spaces in ou

white abstract art, th

while the white parts

atmosphere. This wa

is in relation to a des

Objective 5 - “the ab

At the start of the se

to come up with a ca But now, I am able come up with some

B6. Furthermore, I a

surroundings to come

Objective 6 - “capa

and design analyse

With reference to th

are required to refe

for specific topics of

started to be more cr

my precedent project

Objective 7 - “ f

parametric modellin

With no prior knowle 70

CRITERIA DESIGN

understanding of relationships

ure and air”

(apart from the exposure to Rhino and AutoCAD in first and second year architecture subjects), Studio Air has

ndered why this subject was called

allowed me to better understand computational geometry

knowledge and what I have learnt

and some forms of data structures. However, something

the important role that ‘air’ plays in

that I could improve on is to know more about the types

ur design. Imagining it as a black and

of programming used in Grasshopper. This time around,

he black parts could be considered

I have mostly avoiding using Grasshopper definitions that

s could be interpreted as the air or

uses some programming scripts as I felt that it might be

ay, it can be seen how important air

too difficult to understand. In the future, I will try my best

sign.

to attempt using them.

bility to make a case for proposals”

Objective 8 - “ developing a personalised repertoire

emester, knowing that I would need

of computational techniques”

ase proposal seems daunting at first,

After the past eight weeks, I am now able to come up

to methodically and systematically

with my own grasshopper definitions (although really

critical case proposals, as done for

simple ones), and I can roughly know and understand

am also able to better visualise the

the usage of basic Grasshopper tools without referring

e up with a more realistic proposal.

to any sources. I am also more confident when using

abilities for conceptual, technical

Grasshopper now.

es”

he subject guide of Studio Air, we

erence suitable precedent projects

f this Journal. And as such, I have

ritical when choosing and analysing

ts.

foundational understandings of

ng”

edge in anything computing-related CRITERIA DESIGN

B8 - Appendix - Algorithmic Sketches

evaluating fields

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gradient descent

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graphing section profiles

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Bibliography Cornelie Leopold, “GEOMETRY CONCEPTS IN ARCHITECTURAL DESIGN” https://www.researchgate.net/publication/237544451_GEOMETRY_CONCEPTS_IN_ARCHITECTURAL_DESIGN David Langdon, “AD Classics: Montreal Biosphere / Buckminster Fuller” http://www.archdaily.com/572135/ad-classics-montreal-biosphere-buckminster-fuller Jackie Craven, “Geometry and Architecture: How Is Geometry Used in Architecture?” http://architecture.about.com/od/ideasapproaches/a/geometry.htm John Koch, “SACRED GEOMETRY IN BUILDING” http://www.labyrinth.net.au/~jkoch/sacred.html LAVA, “ABOUT” http://www.l-a-v-a.net/projects/green-void/ Léa plourde-archer, “The Quirky Buildings of Montreal: Remnants of Expo 67” http://untappedcities.com/2013/02/08/quirky-buildings-montreal-expo-67/ MathsIsFun, “Definition of Geometry” https://www.mathsisfun.com/definitions/geometry.html Michelle, “iosphere of Montreal” http://www.atlasobscura.com/places/biosphere-of-montreal Rose Etherington, “Green Void by LAVA” http://www.dezeen.com/2008/12/16/green-void-by-lava/ Suzhou Museum, “Suzhou Museum: an I.M. Pei Masterwork” https://www.google.com/culturalinstitute/ beta/exhibit/suzhou-museum-an-i-m-pei-masterwork/ogLyr9NyQc6tKA

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PART C: DETAILED DESIGN

C.0. ‘PART BETA’ In relation to the normal documentation process, I have made a slight change. Although technique

prototype testing has taken place in Part B, I was dissatisfied with my results and as such, I decided to try and make a prototype that is more similar to the Montreal Biosphere (precedent project in Part B). Despite the fact that the interim presentation has already taken place, I decided to document the process anyway, because this led me to think of new and creative ways to refine my digital model which led me to my final model. As such, I call this an extension of Part C, the ‘Part Beta’ to represent my second trial at testing with prototypes and also the risk that came with developing this prototype which resulted in a turning point for my final model. In building this prototype, I aimed to replicate the flexibility of the biosphere dome in another shape. To do so, I have used plastic tubes, semi-stiff wires and also polystyrene balls. These were mainly materials that were foreign to me, and as such, I spent quite a long time trying to work with them. Nevertheless, the results are as follows:

The aspect of this prototype which inspired me and propelled me into my next stage of the project is the mutability of the spaces. The first space is usually created by connecting enough tubes such that it becomes a polyhedronal structure. By connecting several more tubes and polystyrene balls in different directions, the division and extension of certain sections of the prototype created more usable spaces. And if this is repeated many times, a full-sized model could be created. 80

DETAILED DESIGN

Although this concept could be said to be fairly basic and obvious; I believe that physically making the prototype has enabled me to better visualise an idea. This has greatly helped me in developing further and future ideas.

C.1. Design Concept INTERIM FEEDBACK (+ final feedback) From the results of the interim presentations, I have gathered that my design for Part B is rather interesting and unique. They also have much potential to be polished and refined. However, there are possibly many more aspects that has to be considered, such as the materiality, the functionality and most importantly, how would my prototypes be formed in real (in particular, what kind of joints would be used?) and also how they would relate to the site. After considering these things, I realised I had not properly considered the finer details and decided to restart my process from an earlier stage, that is forming my basic shape.

Final feedback (written at the conclusion of week 12): Despite Grasshopper being able to create many amazing things, I would still need to keep my designs grounded and think of the actual purpose behind a complicated design. Also, I needed to have better ways to express the size and the scale of the spaces in my design and how people can interact in them. For my final presentation, I had too many renders which ended up having a reverse effect and rendering them less effective as a tool to convey how the spaces could be used. Instead, I should have focused on using less renders which are each more concentrated in detail.

DETAILED DESIGN

Site Location

Image from Google Maps

As mentioned in Part B, the site location of Sacred Heart is in Abbotsford. As seen, from the masterplan above, Sacred Heart lies in an old neighbourhood, where Sacred Heart herself has started operations some time in the 1860s.

DETAILED DESIGN

Precedent : Cloud City Location: Above roof of Met Museum, New York Designer: TomĂĄs Saraceno Project Year: 2012 Source: Met Museum

The Cloud City is a temporary installation at the Metropolitan Museum of Art (Met Museum) by Argentine architect Tomas Saraceno. It comprises of 16 geodesic pods which are large enough for humans to enter. Its most distinct charateristic is probably its ability to beautifully reflect the surroundings from itâ&#x20AC;&#x2122;s mirrored surfaces1.

Background Image: http://tomassaraceno.com/projects/on-the-roof-cloud-city/#&gid=1&pid=5 1. http://www.metmuseum.org/exhibitions/listings/2012/tomas-saraceno

CONCEPT Before coming across the Cloud City, I already had the image of something similar in my mind (Perhaps the Cloud City should be called my ‘post-cedent’ instead of a precedent). However, actually seeing something in real made me think and believe that it was not impossible to build. And so, this piece of architecture gave me more confidence to push forward with my design. Nevertheless, there are some parts which I would change such as the surface materials and also the number of edges on each surface.

I picked several concept ones are ‘floating’ and ‘m

In relation to the Cloud body, and as such tried One end of my desig rather it is supported b connection to the other the structure would also only to better emphasiz allow patrons to have a

Then, the concept of ma floating body. That is, t heavy material. This is th end.

ts for this project. However the main mass’.

City, I loved the idea of a floating d to implement this in my design. gn does not touch the ground; by the buildings and also by the parts of the structure. This end of o have some transparent bits, not ze the floating concept, but also to a sense of being suspended in air.

Another side concept is ‘Half-open multispace’. This is a side inspiration from the prototype I made in the previous stage, part C0. With this concept, I aimed to create multiple spaces where people could gather to socialize and engage with both the people and the architecture itself. The ‘half-open’ part refers to two different things. One is that some of the surfaces are transparent while some parts are literally open. Both of these types are generally designed to allow sunlight through. As for the open parts, this also enables air flow, allowing for better circulation.

ass is implemented to ‘ground’ this to construct the structure out of a he part that ‘holds down’ the floating

“ Floating Mass”

Background Image: http://tomassaraceno.com/wp-content/media-library/2012-04-23_Met_A2-poster_copy-1920x1389.jpg /

Design Process My initial stages of design was that of a tunnellike structure that snakes around the single tree in the courtyard that ends in with tunnels that connects the East wing and West wing on the

I drew many shapes (pictures on left) in a rotating manner around the tree, where I would later connect them and form surfaces using the Grasshopper Lava Void plugin which could form the shapes, and then baked the result (pictures on right).

Circles

Squares

Circles + Squares

However, I feel that having tunnels would be very inconvenient, and limit the creative uses of existing spaces. Thus I changed my design again, this time using the Voronoi component, which gives my structure the same

Additionally, I also had some of the surfaces removed using Grasshopper (the random remove component). In the picture below, the green parts represent the inner surface of a component, representing the â&#x20AC;&#x2DC;half-open spaceâ&#x20AC;&#x2122; concept. Also, I decided to remove the tree and possibly have some of its seedlings replanted somewhere else, as having the structure around the tree may end up causing damage to the tree and limit the space of the tree.

I still felt something was lacking, as not much of the spaces produced could be properly utilised. Later on, I tried readjusting the scales and managed to obtain some wonderful results.

DETAILED DESIGN

After modifying the structure to a much bigger scale, it can be clearly seen now the formation of particular spaces which could be utilised. The parts that portrude into the building are trimmed off.

DETAILED DESIGN

Floor Plans

Plan describing the spaces and their uses

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Ghosted Floor Plan

Shaded Floor Plan

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Roof Plans

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Section

Section cut of structure. This section’s cut is shown from previous plan diagram.

Section cut of structure. This section’s cut is shown from previous plan diagram. Morning

DETAILED DESIGN

Night

This section represents a ‘half day-half night’ section, as to show the day and night conditions on site. As seen from the image above, during the night, some corners which are installed with lights will be turned on. The corners are chosen carefully to maximise the refraction of light. This way a bigger area could be lit and the light would not be too sharp but rather a gentler and softer light to prevent from irritating people’s eyes.

DETAILED DESIGN

Performance Stage The image on left shows the stage viewing lines. There is the traditional seating on the ground level. In addition, patrons can also view the stage from above, through the transparent wall.

DETAILED DESIGN

Exploded Structure

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C.2. Tectonic Elements & Prototypes (SCALE - 1:20)

Prototype testing is always an important process of model-making. In this part, I have explored the concepts of tectonic elements & prototypes, by considering joint connections and materials.

I considered for a long time about a suitable material for this structure. I initially thought of making it a red polypropylene structure; intending to create energy and give the site a more upbeat atmosphere. However, I then reconsidered after finding red to be probably too overbearing at a site with protected heritage buildings. Furthermore, polypropylene would be too weak to handle the force of all the visitors and guests. I then thought of stronger materials to deal with the force of the combined weight of guests. Additionally, this material’s appearance should not be too over-the-top and fit in as much as possible with the surroundings to give it a more natural feel. However, I believe that it would be hard to work exclusively with thick and heavy granite. Then, I thought of using timber to create the structure. However, as the site is quite old, the structure may be prone to termites, which led me to think of placing thin granite slabs on the timber surfaces.

100

DETAILED DESIGN

Finally, I have decided upon my ‘core construction element’, that is timber, and this core has granite linings on its surfaces. As my structure is too big and time-consuming to be created in a bigsized scale, I have selected three suitable surfaces from my model to demonstrate the joint connections in a 1:20 scale. In creating a realistic prototype of my chosen ‘core construction materials’, I decided to use an MDF board for my timber core and then sprayed a finish layer on the constructed shape with a spray that mimics granite appearance and texture (two different types of spray used; the base colour and also the spray with the black and white dots). For the connections, I have tried exploring the uses of many different kinds of joints such as nails, bolts & nuts, and even screw eyes. Finally, I decided to use hinges and timber screws. This kind of connection would be most suitable for connecting wood at an angle.

Process

1.6cm thickness MDF board was used to represent the thickness of the structure (which consists of walls and ceilings). The three surfaces were adjusted to scale on Rhino and then plotted on paper using the card cutter. These shapes were then used as templates for cutting. Upon hand sawing the first piece, I realised it was a little too hard and draining to cut all the pieces accurately. So, I decided to use the electric sawing machine in the FabLab. However, I found that they do not allow MDF to be cut in the workshops as they create too much dust and the glue that bonds MDF is toxic.

Thus, I switched to a 1.8cm thickness plywood (as they do not sell 1.6cm thickness plywood in the FabLab).

DETAILED DESIGN

101

After cutting, I drilled some holes and screwed the hinges to connect the pieces together.

102

DETAILED DESIGN

Did not previously considered the gap between the wood pieces when connecting the hinges. As such, there exists those gaps. For connecting them properly, the edges of the wood surfaces would need to be beveled at suitable angles. Nevertheless, the hinges have managed to hold the pieces together in places sturdily.

Before spraying, I taped the edges with masking tape to allow for a smoother finish, and also to possibly show that the structure has a timber core, when the masking tape is removed. Then, I sprayed the structure with two layers of the base colour (grey) and added in the granite effect spray. The final prototype; though I decided not to remove the masking tape in the end, just in case it may ruin the model instead. DETAILED DESIGN

103

C.3. Final Detail Model (SCALE - 1:100)

Process of the final detail model; I chose to replicate my entire structure in a 1:100 scale, and as such, contrary to the â&#x20AC;&#x2DC;Final Detail Modelâ&#x20AC;&#x2122; title, not much of the details could be seen (refer to C.2. for details). This model was done twice, as the first one had some problems in the end.

108

DETAILED DESIGN

Model Testing This part actually occurred before Part C.2., using perspex and plastic. Perspex forms the main body of the structure while the plastic forms the transparent part of the structure. I have faced many obstacles when using these two materials, especially the perspex.

Template for card cutter. A simple site was also cut out of plastic to support the model.

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109

I faced many challenges when using the perspex. First of all, the perspex is of 0.6mm thickness. This makes it harder for the card cutter to make a clean finish. As such, after plotting and (slightly) cutting the perspex material, I had to personally cut out the shapes using a blade, which consumed much time and would probably affect some accuracy of the shape and size. Also, the big card cutter in the FabLab is not functioning, as such I had to use the smaller card cutter which is most suited for materials of dimensions 900mm x 600 mm. However, my perspex material was of dimensions 665 mm x 1220 mm. As I could not easily cut the material into a smaller piece. I had to use the card cutter carefully while moving the material after each cutting session. Furthermore, the smooth material of perspex makes it really hard to stick. Therefore, I had to sandpaper the perspex edge before sticking it to any surface.

110

DETAILED DESIGN

Nevertheless, polypropene has some of its own advantages too. For instance, it will not get torn and is waterproof. It is also easy to bend (with the presence of a scoring line), and the folds stay in place generally.

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111

A week later, the glue on the perspex did not hold very well, and as such, some parts of the structure came undone. As a result, the plastic site that was holding the model together could not bear the force and came undone as well.

Final Model For this final model, I replaced respex with YUPO paper; a strong synthetic paper which is hard to tear. For the transparent part of the structure, it remains plastic. For this model, I decided not to re-cut the site, but only the ground base for the model to stand on. This time, I used laser cut onperspex for which I also cut out some sticks to support the model in place of the wall that would actually support the structure in real. This way, the structure could be seen more clearly from every direction. (However the sticks would not be present in the real structure, as it is actually being supported by the building walls.)

The same card cutting process, ready to be sprayed.

Sprayed with base colour on both sides.

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113

Sprayed with granite effect on both sides.

Model ready to be assembled.

Certain parts of the structure are supported by perspex sticks. The base is also cut out of perspex.

C.4. Learning Objectives and Outcomes

I believe that overall, this studio has also given me much opportunity to improve and try something new. For this studio alone, I have had so many of my first experiences. For instance, over the course of forming my models, I have definitely picked up on many digital fabrication processes. For someone like me who have always made models the traditional way - by a pair of hands, a blade and some glue, I have definitely come a long way. It is the first time for me to use laser cut, card cutter, electric sawing machine and also the cordless driller. Not to mention, the Grasshopper component of this subject is totally new to me. I can say for sure that I have defenitely gained many skills of the Grasshopper plugin by the end of this subject - now.

To put it short, â&#x20AC;&#x2DC;Host + Growthâ&#x20AC;&#x2122; has definitely allowed me much potential for my own growth as well. I will use what I have learnt in Studio Air to good use for my future studies.

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References Images: Pg. 83: http://tomassaraceno.com/wp-content/media-library/2012-04-23_Met_A2-poster_copy-1920x1389.jpg / Pg. 84-85: http://tomassaraceno.com/projects/on-the-roof-cloud-city/#&gid=1&pid=5 Sources: Met Museum, â&#x20AC;&#x153;Exhibition Overviewâ&#x20AC;? http://www.metmuseum.org/exhibitions/listings/2012/tomas-saraceno

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END