Mabel ho 559609 final journal by Mabel Ho

AIR Journal Mabel Ho 559609 Tutor: Chen Canhui Semester 1-2014

ABOUT ME

My name is Mabel Ho. I am a third year student in the University of Melbourne, majoring in Architecture. Hailing from Singapore, I grew up under a milieu of constant change and diversification - the quintessential city life in an environment of neverending build possibilities. Yet having spent a number of my formative years in a high school in Canada, breathing in ocean breezes and wandering in forests during my spare hours, I have learnt to appreciate the combination between architecture and nature. Iâ&#x20AC;&#x2122;m biophilic, though a visual geek at that. Visual complexity is often equated with beauty, such as a majestic landscape, or a city skyline, and is a reason why aesthetic of parametric abstractions holds such great attraction. However for me, it is always the simple things that nourish the human spirit. Such is the beauty of minimalistic aesthetics that inspire creativity. In this studio, I hope to achieve the responses of both by adding on to this journal with simplicity of my learning journey, as well as through elaborate experiments of parametric modelling abstractions.

At present, I have little prior experiences in Parametric modelling apart from the Virtual Communications subject I took in first year, in which we had to produce a paper lantern that is also wearable. Through that experience, I had gotten acquianted with the NURBS modelling in Rhino. The process of computing involved manipulating a series of vectors to form a curvilinear form (in which I represented the very condition of â&#x20AC;&#x153;fractalâ&#x20AC;? design stipulated by the brief). Then, 2D and 3D panels were created out of that form and was further materialised in the card cutter - a subtractive method of fabrication where paper pieces were cut out in a lab. For the reason that we previously had to deal with tacky paper cut-outs, I am very excited at the prospect of this studio to not conform to this limitation and actually produce something cool from the 3D additive fabrication. I believe that having this knowledge in the forefront of technology would enable me to become a more equipped designer. :)

TABLE OF CONTENTS PART A A.1 DESIGN FUTURING

A.2 DESIGN COMPUTATION 12 A.3 COMPUTATION GENERATION 18 A.4 CONCLUSION 30 A.5 LEARNING OUTCOMES 31 PART B B.1 RESEARCH FIELD 34 B.2 CASE STUDY 1.0 36 B.3 CASE STUDY 2.0 46 B.4

TECHNIQUE: DEVELOPMENT

B.5 TECHNIQUE: PROTOTYPES 72 B.6 TECHNIQUE: PROPOSAL 84 B.7

LEARNING OBJECTIVES & OUTCOMES

PART C C.1 DESIGN CONCEPT 96 C.2 TECTONIC ELEMENTS 126 C.3 FINAL MODEL 138 C.4

ADDITIONAL LAGI BRIEF REQUIREMENTS

148

C.5 EXPANSION ON PROJECT 152 C.6 LEARNING OBJECTIVES 160 APPENDIX

PART A CONCEPTUALISATION

A.1 DESIGN FUTURING SUSTAINABILITY & THE DESIGN COMMUNITY: THE BRIEF

The topic of sustainability that is widely discussed of late, is situated in view of the pertinent crisis that we humans are facing. The argument by Fry (2008) informs that the design community requires a new paradigm on design theory to include concern for ecology besides that which is anthropocentric1. Traditionally, the development of design technologies that been focused on advancing existing technologies and to make them more democratic. This however, not only does not subtract from the wider material problem that humans are facing but also makes it worse. In light of excessive human consumption, climate changes and exponential global population growth, the future is uncertain. Fry (2008) promotes that since this is a material problem we are facing, there could also be material solutions - by design. That is fundamentally for designers to be educated in the ramifications of design input and outcomes and engage in sustainable choices. These motives are deemed as (1) Design Intelligence, and (2) Redirection2. Importance of Design intelligence is to think beyond economic and cultural positioning, meaning to view architecture beyond mere styles that pleases people. Knowledge of the agency of the material and immaterial, like how our social systems interact with the environment is crucial for understanding the problems we cause. Hence, it is important to be educated in ethical and sustainable choices through our practice and production in order to capture the potential for sustainable operation. As for Redirection, it is the commitment to participate in a common cause to act sustainably (not necessarily a political ideology that may be rife with paradoxes). This is conduct that complements knowledge. 6

The LAGI brief is interesting because it forges a direct link between designers and design that contributes to a more sustainable environment. Implications of the brief is that it harnesses what designers do best - aesthetic design, to rethink a new type of energy generation system that would engage the public. Considering the scale of the project and Denmarkâ&#x20AC;&#x2122;s dedication to renewable energy, it is likely that the design will influence a discourse on the future of sustainable energy systems. Diving now into a few criterias of the design brief... The site located on a pier in the city of Copenhagen (Denmark), is formerly a shipyard. Its current state of its surroundings comprises of a multiplicity of purposes that mainly deals with water transport. This juxtaposition of activity with linear horizon lines has created calm scenic views to which the new design addition may explore and hopefully complement, along with its rich history. The installation requires a 3D sculptural form that is also a mind-stimulating piece that benefits the public. It is an energy generator on an energy grid that supplies to its vicinity. In other words, it must be able to capture energy from natural elements, store and transmit electricity3. The design should be pragmatic and constructable, and its height is constrained at 125m (in tall range for a wind turbine). Also it should not emit greenhouse gases that might cause pollution to its surrounding. At the same time, it is important to respect the significant history of the site and its geography4.

SITE

Fig 1:

Site plan

Fig 2:

The panoramic view from the location of the Little mermaid informs that the design will be a juxtaposition to the adjacent

industrial area located north of the site

A.1 DESIGN FUTURING COFFICE: SOLAR WIND BRIDGE

Fig 3:

Solar Wind Bridge design with specifications of the type and scale of wind turbines choices, the data management is an area

that may be optimised with parametric scripting

This project amongst other things, proposes the efficient reuse of highways by fitting wind turbines into the white spaces underneath5. Despite being a project that has yet been built, I particularly like this project because I feel that it examplifies the architectural possibility of design to collaborate harmoniously with technology. The notion of design futuring is very much evident in this project because it is opportunistic and problemsolving, not merely just a â&#x20AC;&#x153;lifestyleâ&#x20AC;? sustainable architecture that most designs tend to idealize. Its main attraction lies in that white spaces under the bridge which would normally be a system of trusses has been intelligently replaces with circular modules fitted with wind turbines, able to generate precious renewable energy for up to to 15, 000 homes (along with solar cells on the roads above)6. Pretty impressive! Since bridges are generally

exposed to elements, the project has a great prospect of coming into reality not only for its intended original location, but in other highaltitude bridges as well. To me, this is sustainable design speaking for itself as a contemporary form, despite potential problems that are required to be solved. Such as how the design might affect birds in the vicinity - a problem that is commonly faced by windmill farms. Along with structural engineering, computer modelling wind impact is an important feature for this project to be considered viable, as undertaken by the architects to prove their design. As seen from the form of the design itself, parametric design is used to aid in the seamless integration of retrofitting geometries to the confinement of space. Specifically, a circle packing algorithm can be used for optimizing the allotment of wind turbines. 9

A.1 DESIGN FUTURING TOYO ITO: KOAHSIUNG STADIUM

Fig 4:

The seamless form of the stadium is accompanied by an intricately designed system of pipes under the solar panels

ROOF DETAIL

DIAGRAM OF HORIZONTAL PROFILES

solar panel array main trusses

concrete seat terraces lower terrace

This design by Toyo Ito fulfils the sole clientâ&#x20AC;&#x2122;s brief to include solar panels by literally creating a form that is covered with them, yet no less sculptural. The design consists of 8,844 solar panels that is both a feat of architectural and engineering ingenuity since they were supported with a series of pipes7, showing the seamless integration of sustainable intent with digital architecture. Parametric modelling is clearly used here to define its structural/service system and also enhance the aesthetic composition. I chose this architecture because it shows a dissolution of boundaries, whether in emplying sustainable technology in architecture but also the concern with public to private spaces. As a public architecture, the architect has to ensure that favorable elements such as sunlight is adequately captured by the design, while unfavorable elements like excess sunlight or wind does not cause discomfort to its users. This is done with again with the use of computing

to determine the appropriate form for localised regions/profiles, at the same time still maintaining an expressive aesthetic. Despite the performance hype associated with this project, critiques have noted that at a cost of $150 million though reasonably priced for a stadium, efficiency of the solar panels are at question due to a general disregard for orientation8. As I bear these comments in mind for the exploration of my own type of sustainable architecture, I wonder if a solution might exist in the use of composite materials (besides solar panels) that are integrated through parametric modelling. Overall, the design itself is a revolution from tacky eco-architecture (solar) that since the 1970s has been a disparate element placed on roofs. Solar panels here are â&#x20AC;&#x153;cookedâ&#x20AC;? into the very form of the building. With its 14,155m2 roof it could potentially generate 1.14 gigawatt hours of electricity every year, enough to power up to 80% of the surrounding neighbourhood9. 11

A.2 DESIGN COMPUTATION ALGORITHMIC THINKING COMPUTERIZATION VS. COMPUTATION The past few years have marked milestones after milestones in digital architecture, causing a reevaluation of the processes of architecture and its communication. Theories of the digital in architecture has shifted from the representation to logical and operative, and architectural designs are becoming not just concerned with form, but also the formations10. In effect, the use of computers extends beyond just the assistence in devising curvilinear surfaces and volume that is seemingly the characteristic of this new breed of architecture, a term dubbed â&#x20AC;&#x153;computerizationâ&#x20AC;?11. This is the basic form conceived by a computer, which may be lacking in data inputs by the human user. Contrasted against computerization, emerging technologies are enabling the morphogenesis and materiality in generative prccesses, creating a digital tectonic somewhat spontaneous but actually a result of calculated data - Algorithmic thinking thus becomes the intelligence to creatively explore fabrication ideas12. The skill of scripting or writing codes to define perimeters is known as computation, lends its way into the parametric design world.

INTEGRATION VS. REVERSAL The role of the architects that once merely exists as problem solvers in formal and linguistic modes of form representation, are evolved to also include puzzle making new constrains in a project to be better oriented to the social and environmental aspects13. In order words, architecture has the potential to become meaningful in our lives rather than just a stylistic shelter. As the dynamics of building has changed to become centred around software/IT, it is now possible for an integrated communication among the building makers. The agency of travelling information as orchestrated by architects allows prompt responsiveness on all front of disciplines involved, which serves up a more compelling design criteria14. 12

A L G O R I T H M I C T H I N K I N G P S P M

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A.2 DESIGN COMPUTATION JURGEN MAYER H: METROPOL PARASOL

Fig 5:

Canopy/ parasol of the design appears to be aloft the adjacent buildings, yet did not appear to have their bulk

The Metropol Parasol located in Seville has a multifunctional program, mainly a market space, underground museum, cafe and plaza. Six parasols are interwoven into the surrounding city fabric. The stunning piece of architecture is a symbol of cultural progression that revalizes the old city of Seville, as well as a landmark for the future. The main challenges of creating the design (largest wood structure in the world) is its sinuous form and occuring loads15. Development of this design which is characteristically ambitious is decidedly magnificent because of its scale. Even for the 14

amount of materials that were used, it does not appear to be heavy as the waffle panel grid allows a smithering of light through to the urban space below, decreasing shawdow casts. Moreover, they were positioned at a height that is meant to be a dominant view, yet not an intimidating one. I chose this project not only because of its beauty, but also the rational that parametric design can support all these qualities in a form (scale, bulk) while playing with the interesting profiles of the structure. As we know, in order to capture wind/sun, scale and height positioning, in addition to practical orientation, are important. The visible structures, materials thicknesses vary according to simulations of their loading. Development and construction of the parasol required a complex iterative coordination. Using 3D architectural modeling, the stresses in the woodâ&#x20AC;&#x2122;s profiles could be determined, hence, all joints and structural profiles were optimized corresponding to test results16. An important aspect of the computation is each planar component (image to the right) make up the lattic existing in different forms - a level of complexity that is hard to match in traditional craftsmenship17. In addition to the parts that totally fit together, holes are also milled out to form joint connections. The design literally holds together like a puzzle, strengthened by bolt connections. To some degree, it translate to the durability of the structure held both in compression and tensile forces.

A.2 DESIGN COMPUTATION SHIGERU BAN: CENTRE POMPIDOU METZ

The building is remarkable for its roof structure, one of the largest and most complex built to date, which was inspired by a Chinese hat found in Paris by Shigeru Ban. The Centre Pompidou-Metz is a museum of modern and contemporary arts located in Metz, capital of Lorraine, France. The roof structure was assembled by weaving six beams into a hexagon, an innovative, benchmark concept in the construction world that is also used in other Shigeru Ban’s work18.

Fig 6:

An illuminated roof of the Centre Pompidou Metz, proudly displaying its “humble” roof structure that is derived from

traditional construction methods with modern technology

The building appear luminous as internal light lit up at night. This Japanese/ French hybrid shows the familiar roof aesthetic by Shiguru Ban, a weaving pattern that tessalates from wood, instilling a sense of lightness and permeability to the material. The sinous form, much like our previous precedent study is also evident here. The overhanging roof, up to 20 metres in places, protects the walls from the elements. The membrane is translucent, letting through 15% of the light to reveal the hexagonal roof structure at night when the building is lit from the inside19. In regards to the choice of material, wood is chosen for its lower embodied energy (and easy recycling) in comparison to other popular support materials like concrete and steel20. Every single beam of 18 kilometres of glue-laminated timber beams was CNC-machined to unique proportions. This enabled both the production of multidirectional curves and the perforations for the final assembly (node points, pins and braces).

Alongside, the texile membrane covering the whole building, protects the wooden frame from rain, sun and wind - the membrane is made of fibreglass and Teflon (PTFE, or polytetrafluoroethylene). It is light as well as selfcleansing. Addtionally use in combination with the organic form produces a landscape feature that is very suitable for its reputation as an inviting public space. Overall the building shows parametric design might be a rethinking of traditional building methods for production of forms that communicate expansive design and environmental intent. The application of material/form this design may be helpful for our explorations of since we require capturing the renewable energy source. One can also learn from the concept of creating an architectural object that is stimulating to our senses yet at the same time blends in with nature.

A.3 COMPOSITION GENERATION CONCEPT OF PARAMETRIC DESIGN Definition: PARAMETRIC MODEL: A model whereby part of the design relate and change as defined by the various parameters and dependencies stated by the designer21. (1) An algorithmn is produced by a series of perimeters/ dependencies- algorithmns, computers cannot produce new sets of instructions except for inputs by the human user22. (2) A recipe is used to define the direction of the design (not arbitrary) - therefore the process of making also exists in an analogue stage prior to a digital one. Perhaps this may explain the conditions of the model that matches with its meaningful context23. Within this definition, it can therefore give a sense that parametric design is as Daniel Davis calls it “associative geometry, scripting, flexible modelling, algorithmic design”24. The challenges of defining parametric design according to him is that the excessive focus on defining a parametric model itself (somewhat oxymoronic). To explain, many architects have the excessive focus on the model’s output, on the asthetics of a parametric model “style”, while neglecting that the process of constructing and associating relationships with the model throughout fabrication is the ultimate aim of parametric modelling. It is afterall, a technique. By focussing on appearance of a generative (an output of parametric modelling) model, the technique becomes repetitive, which is in fact hampering the potential of expanding on parametric design. 18

Here is how parametric design needs to be promoted: Generating an automated process eliminates tedious repetitive tasks, the need for complicated calculations on the fly, the possibility of human error, and generates huge shifts in the outcomes with slight variations of the original parameters25. Parametric thinking introduces the shift in the mindset between the search for an specific static and defined formal solution, and the design of the specific stages and factors used to achieve it. As this is a parametric design studio, so as to qualify the computational design as an integrated art form, the composition of the design may be thinking about how components can come together, but the generation stage may not be limited to mere transformations of energy in an operable sense. Hence, facade is key. The aesthetic should be as inviting and at the same time shows complex transformations. For the purpose of our experimentations, it is important to have a clear idea on design outcomes that physically represents maximised input data (which is essentially nonparametric considerations, e.g. mechanism, that grounds the design to be functional and not something completely organic). The understanding of the underlying logics of architecture is important and advantages of the design should preferably be traceable, expecially in this modern age whereby rapid feedback on performance is made easy through computer simulations26.

A.3 COMPOSITION GENERATION PRIMITIVES: ARANDA\ LASCH

Fig 7:

The different constructed foams made out of 3D-printing/ foam

The procedural design of Aranda lasch is recognised by the “Tooling” techniques they advocate, essentially a guide on “recipes” of pattern making27. In their series of installation in collaboration with fashion house Fendi - Primitives, invites people to participate in building blocks for disparate pieces of furniture. The installation offers an insight into construction technology and parametric design as users are encouraged to upload their designs on an app in which would be translated into actual built forms by the team28. 20

Fig 8:

A simplified diagram explains processes and inputs in laymanâ&#x20AC;&#x2122;s term

From composition, the diagrams show that the language of scripting provided the architects the ability to use 4 different scaled objects to nestle into bundles, hence forming new shapes. Because the faces were subdivided, the differently scaled geometries were able to fit. A single face of a big form may be able to accommodate a few faces of the smaller forms. In this way, the final design would schematically be associable as a united object. Hence it is also a utilizable piece of furniture. This is done through the process

of fractal growth, using an octohedral unit to create highly-faceted geometries that have triangulated faces. Aside from that, the fractal growth was also represented as the geometries cluster together. The differently possibilities of the forms to be unique even coming from the same rudimental parts is attributed to specifications on the parametric modelling software.

Fig 9:

The design layout and different assemblies of an installation

Fig 10:

Different kinds of generated forms are shown here, all unique, yet from the same programming code

Through explorations of parametric scripting, they demonstatrated how a single unit can be used to generate multiple forms that may be interpretated differently. Scripting language allows the architects to develop a commonality with users whom have no prior

technological language because they are able to simply imput parameters into the app. This is an interesting aspect of the installation that showcases the functionality of parametric scripting from composition to generation. 23

A.3 COMPOSITION GENERATION UNIVERSITY OF STUTTGART: ICD/ITKE RESEARCH PAVILION 2011

Fig 11:

The constructed pavilion, though temporarily in place, can in fact be reconstructed in another location because of the

construction logic behind it that uses bolts to join “cells” together

The premise of this project is an investigation into construction and material stability. This project is inspired by the bionic structure of a sand dollar (a type of sea urchin)29. Benefits of this structure include low shear forces and non-existant bending moments because of geometric arrangement of polygons and multiple layers. Given that the tessalation of the shell is reliant on elegant structural logic, material usage is low. Furthermore, the pavilion can be easily dismantled and reassembled, allowing for multiple usages30. The experiential design as a lit-up pavilion may also be attributed to the tessalated perforations in the inner shell.

CONCEPT OF MATERIAL SYSTEM31 / interstitial component in skeletal shell (mimicks biological system of organism) / hexagon pattern: 3 plate morphology meet together at one point / heterogeneity: cell-sizes are not constant (central cells are taller because of a lesser degree in curvature compared to cells located at the edges) / anisotrophy: cells stretch and orient themselves according to mechanical stresses / 2 levels of hierarchy: finger-joints form the connections at one level (mimicks calcium protusions of organism as well as associating with traditional carpentary joints) while screw connections form the connection for another level (for easy dismantle and reassembly)

Fig 12:

Illustration of the construction logic behind the easily deformable pavilion

Composition of the material system begins through using the geometry of hexagons to spread out throughout the structure. Following that, a series of analysis of both the self-weight and the wind loads of the structure was carried out to determine the optimal curvature. This process of form-finding is a demonstation that parametric design allows careful changes to the form of the design for optimization. The structure remains as a caternary surface existing in perfect compression because the software code allows it to be so. 26

Fig 13:

Structural analysis of the self-weight of the structure and its inherent stabelising properties

A.4 CONCLUSION RESEARCH ON RENEWABLE ENERGY SOURCES

S O L A R Large scale requirement of renewable energy dictates that a sensible and abundant method should be used. Primarily energy from the sun is extremely available though varied across the daytime as well as through climate changes. Denmark has a typical coastal climate with mild, humid weather in winter and cool, changeable weather in summer, and mean temperatures do not vary greatly between the two seasons. However, the weather in Denmark is strongly influenced by the country’s proximity to both the sea and the European Continent. This means that the weather changes may be accounted by the prevailing wind direction. For instance with a predominantly Westerlies wind during the summer, coast boundaries may have a cover of very thin cloud forming - called stratocumulus - often forms at low altitude, blocking the sun32. Current common technologies range from light capturing panels such as photovoltiacs, photoelectrochemical cells, solar chimneys that sometimes are used in combination with mirrors and thermal energy. I do note that technology involving mirrors might be controversial for their impact on birds and may be highly uncomfortable for human users.

W A T E R As mentioned above, though water might be used with solar energy technologies, they usually involve heating to produce kinesthetic thermo energy. Other common forms of hydroelectricity technologies are such as geothermal (deals with water from the ground), or kinesthetic energy sources from tide/waves/currents. Even though our site is a port surrounded by water, unfortunately this trajectory might be less consequential as the surrounding area is highly urbanised and not as prone to dynamic energy conversion. Despite, other technologies like osmotic power/ salinity gradient power, or theories in regards to hydropower may be explored that might be interesting.This might explore a new dimension in relation to the brief to respect the site’s history as a port.

*** 28

All research here is taken from Ferry, Robert & Elizabeth Monoian, ‘A Field Guide to Renewable Energy Technologies’’ for the LAGI Competition 201436

An assortment of wind turbines (also windbelts) that are aeronautical engineered exists in a variety of heights on the current market. Although they are generally less than 100m33, well below the standards recommended by the brief. Wind technology is at present very popular in Denmark due to its preferable coastal location with high windflows. Despite, the city of Copenhagen is located in a zone with relatively lower winds compared to the rest of the country [arrow on image]34. This may be a factor to keep in mind though even windfarms are not common, there are viable windmills around the area -like Lynettenâ&#x20AC;&#x2122;s 7 windmills that claim to have a capacity factor about 20.5%. The wind speed is described to be in the medium range for Danish windpower. sites.

B I O

O T H E R

The implications of biomass/ biofuel that require a high level of post-processing may mean that a factory is involved, which is undesirable for the context of our brief. Other technologies such as kinethic energy harvesting from movements (may be possible for civic interaction) are still in their founding or theoretic stages. This notion of technology as the experiential is nonetheless very attractive to explore and maybe even synthesize. As I briefly refer to the need for energy storage, conventionally grids are used . Not only are they a blight to the sight, they have to exist overhead. This aspect can be a potential area for change in our project, to explore attractive transmission networks. Possibly the Kangaroo plug-in may be engaged to re-create a tensile structure that fulfils this need.

A.4 CONCLUSION PERSONAL REFLECTION The scramble for sustainable practices that have found its way into the 21 century has much to do with evolving systems that humans live in. Our requirements for resources are increasing just as our technology is advancing, which is a genuinely problematic. Hence the solution for this material problem has to be solved through deliberate methods and practices that aims to neutralise our negative carbon footprints. Within the architectural realm, we have shifted to a new paradigmn where we are working a lot with digital and factory fabrication. This typology has significant benifits, such as efficiency and ability for precise/careful consumption. The design approach this project is one that has to consider constructability, as well as practical usage of energy collection.Moreover, innovation (expressive architecture) is bound to benefit Copenhagenâ&#x20AC;&#x2122;s public, tourism sector and achieve its environmental goals.

A.5 LEARNING OUTCOME

As I approach the end of Part A for this studio, I have gained a deeper knowledge of the expectations of sustainable technologies and how it can have the potential to be a commonplace in our urban fabric through good design. Often sustainable technologies are viewed as inspiring. However, with the expression of parametric design, a new expression of sustainable technologies that are so pertinent to our lives may be created. This aesthetic that is used with algorithmic data to reflect actual data may in fact produce an architecture that is symbolic as well as intellectual.The key is to aim for a simple user experience with measurable returns. Sustainability as a feature has been a much talked about topic in the architectural world. A project of this scale encourages design with practical harvesting of energy and public interaction is indeed at the forefront of sustainability discussion. The important thing now is to think about carrying on with our design as a team with expansive technologies and material choices for such a unique typology and use them with parametric modelling variations.

PART B CRITERIA DESIGN

B.1 RESEARCH FIELD MATERIAL SYSTEMS: TESSALATION

Fig 1:

Volta Dom by Skylar Tibbits.

Material systems are commonly conceived as a form of architectural ornamentation. As Mousavi argues, “it is through ornament that material transmit affects”1. Not to include affection, which is the emotional and bodily reaction of the individual towards the object, but rather for architecture to have an affect - stimulate the mind through specific qualities of the form itself. It is non-personal and unmediated, allowing different kinds of sensory reaction to be generated. The architecture does not seek consensus, but rather allows for numerous subjectivity to be developed. It does not mean abandoning the formal and normative styles, but to include people’s interaction in the process of design in order to determine the aesthetics of a material system. In other words, material effects are not only visual effects; they are experiential effects2.

According to Mousavi, modern ornament also has to exist to serve a function or purpose, not purely decorative or symbolical3. This take on architectural ornamentation presents itself in many ways in today’s buildings whereby digital tectonic is a new element of ornament. Patterned environmental filters are woven into forms, spatial partitions set out in interesting compositions, etc. This view that ornament should be performance-driven is also conferred by leading architects Herzog and De Meuron, whom state “performance is the only consideration”4 in the use of computational tools. Despite, the architects note that using environmental performance to direct a design idea can be distracting as plenty of information may be irrelevent to how the building might actually function. Hence it is important for a distilled focus on architectural-environmental intent for performance to be measurable.

Fig 2:

Carpenter Puppet Theatre by Pierre Huyghe.

For our exercise, a range of taxonomy on “Material Systems” exist. Each one to do with structure, screen or surface has clearly to do with guiding the design process and objectively, different approaches to fabrication methods. (Recently there have been investigations of material adaptive/dynamic and mutable properties.) In particular, our group was interested in the “Tessalation” material system. In doing so, we will also cover topics of material performance and patterning, as they are related.

The creation of public spaces with the use of tessalation and computer design is largely focussed on facade aesthetics, as well as structural efficiency. For instance, the Volta Dom by Skylar Tibbits [Fig 1] is a doubly-curved vaulted structure is made by transforming complex curved vaults into developable strips using a digital modelling software5. This close the close relation between the use of patterning and tessalations (more to do with panelling) in enabling structural designs. Another example is the Carpenter Puppet Theatre, built with 500 unique white polycarbonate panels diamond shaped interlock to become a rigid structure6. The “cells” are simply bolted together, in order to be easily assembled and disassembled. Just like the previous example on material perforance, the concept on tessalation over here shows that it is related to efficient construction as well.

B.2 CASE STUDY 1.0 IWAMOTO SCOTT: VOUSSOIR CLOUD

Fig 3:

Voussoir Shell - sssembled panels with tabs from inner vaults.

Fig 4:

Aerial view of vaults shows that panels are connected in a single architectural fabric with no disunities.

Fig 5:

Form-finding and tessalation diagrams, along with material performance analysis.

Through tessalated surfaces, the whole is considered as a repetition of parts. Tessalation involves complex geometric organization, the systematic behavior of a material and its assembly7. Many of the patterning schemes can be 2D or 3D. Alongside, experimental building skins with dynamic, adaptive behaviors are also beginning to materialise, creating more opportunities for panelling to be responsive. In this case study, Iwamoto Scott created a vaulted installation of unconventional ultra-lightweight voussoirs, hence the name â&#x20AC;&#x153;Voussoir Cloudâ&#x20AC;?. This design alludes to voussiors - traditionally are wedged shaped masonry blocks (made out of stone) assemblied in a vault. Through using the method of tessalation, vaults made out of caternary arches may exist in perfect compression due to the stiffness of the wood panels. The intent of this piece is to refute that logic to create both bulk and permeability, an effect

that is made because tessalation is used with manipulating the qualities of wood. According to Iwamoto, the installation explores the coupling of potentially conflicting constructional logics â&#x20AC;&#x201C; the pure compression of a vault with an ultra-light weight material8. Despite the wooden panels being much lighter than traditional voussoirs, they act the same way structurally. This design that is a re-interpretation of a traditional building method is achievable because digital fabrication is used for precise assembly. Tessalation over here also uses heterogenous patterning for a more interesting skin. Such as petals with tri-angular shapes, each one having either 1 curve, 2 curves or 3 curves. In effect, tessalation is used for optimising material performances, and as a patterning tool.

B.2 CASE STUDY 1.0 MATRIX EXPLORATION

Panelling type | Point distribution

The form-finding process of Voussoir Cloud is created in the Kangaroo plug-in of physics simulation in Grasshopper. As the form requires a mesh for later panelling, the referenced geometry requires closed polylines, which in this case is made of voronoi cells (with an arranged seed number). Within Kangaroo, there is a component of unary force and rest length which created the â&#x20AC;&#x153;relaxed archesâ&#x20AC;? between the cells of closed polylines. Over here, the main interest is in referencing different geometries as well as point distributions.

Panelling type | Point distribution

Referenced geometry: Circle

B.2 CASE STUDY 1.0 MATRIX EXPLORATION

Panelling type | Point distribution

Referenced geometry: Triangle/ Polygons

Panelling type | Point distribution

Referenced geometry: Quadrilaterals

B.2 CASE STUDY 1.0 DESIGN POSSIBILITIES

Fig 6:

Selected Iteration 1

This design is created first as a hexagonal grid, using a high rest legth and high unary force in the kangaroo engine to achieve the crown at the top. It is a rigid stucture made out of pipes on triangles - much like a truss system. Therefore, because the structure is strong and materially efficient, it would be suitable to nest heavy loads from above or under. This will be helpful if there is heavy equipment associated with energy collection. Furthermore, as a modular unit, replication on a grid may produce many of such structures. This would mean fabrication and economical efficiency. Challenges of this design include that while material is used efficiently, too many surfaces generated would be counter-productive as well as difficult to produce. Hence a smooth function is used on the curves to make the material more workable on Grasshopper.

Fig 7:

Selected Iteration 2

Similar to the last design, this design uses pipes. Regardless, it forms a relatively flat top that could be a better option for additional panelling (e.g. if solar panels are used). Since it has a round shape at the crown, it is better for facilitating a swirling motion as well (e.g. kinetic wind). As the roof of the design connects to a hole in the middle, it may also be good for rain water collection. As both designs are highly fractal, they mimic the formations in nature. It might also be possible to use them to create a more habitable space that is reminiscent of plant life which is missing in the RefshaleĂ¸en site. They could be designs that purify the air while creating clean energy.

B.2 CASE STUDY 1.0 DESIGN POSSIBILITIES

Fig 8:

Selected Iteration 1

Fig 9:

Selected Iteration 2

The voussoir forests are formed from a network of arches made out of hexagons. It is made so as to use each geometry as a part of a larger pattern, with the rectagular form like the area of the design site. As it uses hexagons, it is similar to Fig 1, except that panels were made with perforations. Implications of the design include that there is an element of randomness as well as order in the organisation of the trees. The design may be used for physical interactivity, like a maze, which would increase engagement with the public. 45

B.3 CASE STUDY 2.0 MATSYS: SHELLSTAR PAVILION

Fig 10:

The pavilion took 6 weeks to get from design to fabrication to assembly - a process made possible by parametric modelling.

The Shellstar Pavilion aims to provide maximum space using the smallest amount of materials. through parametic modelling, the process of design to fabrication to assembly, despite its complicated patterning, took only six weeks. Within the brief, the design team claims that â&#x20AC;&#x153;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 fabrication. It is made out of 1500 panels, and because planarity of the panels were maintained as much as possible, fabrication was easy as panels were cut from a flat Coroplast sheet. This eliminates wastage and is thus better for the environment. As it is made out of caternary surfaces much like the Voussoir Cloud, the Kangaroo simulation is a point of interest in our exploration.

Fig 11: The process of designing includes not just digital modelling but also exploration into structural integrity and suitability of joints.

B.3 CASE STUDY 2.0 REVERSE ENGINEERING PROCESS

Within Rhino, create isosceles triangles.

Impose curves onto a triangular grid. Alternatively, use the Starling to create triangles within triangular curves.

Set anchor points on the resultant mesh. Reference into the Kangaroo simulation engine.

Reference geometry as the mesh. Set unary force to z-direction. Set connections to vertices of mesh faces. Run simulation.

Create planar panels from discontinuities of curves.

B.3 CASE STUDY 2.0 HAQUE D+R: BURBLE

Fig 12:

A floating Burble during night time is made out of helium balloons and anchored to the ground by the weight of the crowed.

Fig 13:

A tessalated grid of triangles form the underwirings in which the balloons nestled on.

Fig 14:

Conceptual diagram informs wiring of elements within the Burble, namely the form of the grid, positioning of balloons and handle bar.

As our previous exploration of the ShellStar Pavilion was lacking in a strong experiential design idea that adheres to the brief, our team decided on using a more fun, interactive project to compliment the technique we have learnt. The Burble is a kinetic design made out of balloons and a triangle grid. Through programming of LED lights within the balloons, the Burble is able to adapt to the whims of the people holding on to a handle bar. The architect Usman Haque had in mind for the public to participate in influencing a built form by creating an installation which is can be held on to yet visually impactful to the urban site surrounding it9 - precisely a concept that is striking in our project brief. As the quality of kinetic motion of the Burble floats with the wind, it is a design our project group would like to explore the potential of harvesting wind energy with a similar form-finding method. Kangaroo in combination with grasshopper, is

B.3 CASE STUDY 2.0 REVERSE ENGINEERING PROCESS

hexagon 1 Create grid on Grasshopper.

Use a patterning effect to cull negative spaces from grid.

Impose triangular lines into hexagon grid.

Reference curves into the Kangaroo simulation engine. Set anchor points and run unary force simulation.

Reference mesh spheres on mesh. Variate number. Set gradient.

Extend lines out from curves to spheres. Run wind simulation.

B.3 CASE STUDY 2.0 REVERSE ENGINEERING

Fig 15:

Diagrammatic process of Kinetic simulation of form in Kangaroo engine (2-sec intervals from right to left).

B.4 TECHNIQUE DEVELOPMENT EXPLORATION OF MATRIX

The method for forming our matrix involved using the Kangaroo engine to blow up curves into a vault. As seen, tessalations used in the patterns were made using a mixture of algorithmic calculations and culling. Anchor points provided the form with its distinctive relationship to space around. Whether it occupies space vertically or horizontally depended on the placement and manual movement of points during the simulation. Forces have a direct impact to the height of the structure and force levels give an indication of how stable the geometries of the pattern is. Finally, rest length shows how the form can be stretched or relaxed assuming that the joints stay in the same position).

Anchor Points: = Rest Length: Force:

9 1 200

Anchor Rest Le Force: