Reyno_Mariel_715488_FinalJournal

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MARIEL ANGELU ALMARIO REYNO 2015 | SEMESTER 1 FINNIAN WARNOCK

TABLE OF CONTENTS Introduction A: CONCEPTUALISATION A.1: Design Futuring A.2: Design Computation A.3: Composition/ Generation A.4: Conclusion A.5: Learning Outcomes A.6: Algorithmic Explorations

1-2 3 - 20 21 - 38 39 - 54 55 56 58

B: CRITERIA DESIGN Criteria Design B.1 Research Field B.2 Case Study 1.0 B.3 Case Study 2.0 B.4 Technique: Development B.5 Technique: Prototypes B.6 Techhique: Proposal B.7 Learning Objectives and Outcomes B.8 Algorithmic Explorations References

59-62 63-66 67-74 75-82 83-98 99-106 107-112 113-115 116 117-118

C: PROJECT PROPOSAL Project proposal B.1 Design Concept B.2 Tectonic Elements B.3 Final Design Model B.4 Learning Objectives and Outcomes References

119-132 133-142 143-154 155-156 157-158

About Author the

Mariel Angelu Almario Reyno was born and

raised in the Philippines. It was in 2014 when her family decided to migrate to Melbourne.

Upon arriving in the country, it was clear to her mind that there is no time to waste, and that she must immediately return to her goal- pursuing her passion for design.

Currently, she is in her 3rd year of Bachelor of Enviroments at the University of Melbourne.

Her love for interior design led her to take the path of Architecture. She believes that through this profession, she would be able to manipulate more interior spaces of a structure. During her previous years as a student, she has also developed the means of always incorporating landscapes and water features in her designs. Consequently, she is engrossed with the idea of sustainable architecture.

Back in 2013, together with her colleaguesDominic Castillo and Louis Antonio, they became one of the finanlists for the Design Competition held annually at the College of Architecture in University of Santo Tomas with the theme “Manaoag Tourist Pavillion Complex.�

In that same year, she was able to gather a certificate of completion from the Autodesk Authorized Training Center for undertaking an AutoCad short course at Microcadd.

PAST PROJECTS

SINGLE STOREY RESIDENTIAL

INTER-BUILDING BRIDGE

4- STOREY BUILDING WITH BASEMENT STRUCTURAL

MANAOAG SCALED MODEL

Having this experience opened the door and made her engaged with more different platforms of designing projects, such as Revit & Sketch up.

Besides Architecture, she is fond of photography. She was part of the Vision Magazine at the University of Santo Tomas in Manila.

Recently, she discovered the wonders of InDesign and Photoshop, which she uses now frequently in the execution of her ideas.

At the moment, she is exploring the program of Rhino and Grasshopper which was introduced to her world by the Studio: AIR of University of Melbourne.

INTRODUCTION | 2

DESIGN FU PART A.1

Design Futuring (Sustainability, Ethics and New Practice) It requires forward-thinking to stay ahead of the arena, encompassing sustainability, the principles and work ethics as well as the practice in Architecture. In bringing the creative and new ideas we have to consider the workable resources, environment, economy, culture and be observant of others – the clients in particular that will help us to think in a more innovative and imaginative way. Sometimes, we just have to reinvent the wheel and improve the existing strategies and projects to progress further and bring these new architectural designs into the market perpetuated by the emerging technologies.

UTURING Technologies do not have new ideas and cannot execute designs without people who will maximize their potentials. In design futuring, we need designers, thinkers, creative individuals that would look forward, backward and the current trends in developing new and innovative designs using different tools and strategies in architecture that satisfied changing demands and needs of a wide range of customers. In designing, also choose appropriate technology that will lead to sustainability. Thus, coping with these technologies whilst considering the sustainability of the infrastructure are essential. Technology as a tool, will be able to develop designs that would address current trends, provide futuristic look and yet humane in nature.

1.1

S-House

A 50 m2 by 100 m2 structure1 wrings in us the doubt of privacy in the age of Internet.

FIG.1 THE INTERTWINING STAIRCASE

INFORMATION:

Architect: Yuusuke Karasawa Architects Location: Oomiya, Saitama Japan Year: 2013 2 Area: 104m Structural Engineer: Alan Burden and Hiroaki Inuaki General Contractor: O’hara Architectural

thrives on imagination and aims to open up new perspective. The design can appear deceiving, as it looks concise from outside but lets you experience its diversity when explored inside.

“Although this opposing space seen from the void appears to continue visually, one can only arrive at it by traveling through the complicated levels, and taking a drastic detour after moving to a different

S-House is a residential unit built in Omiya

floor.”- Karasawa.[4] A mirror of what is happening

Station in Saitama by Yuusuke Karasawa Architects.

in the internet. Furthermore, in my perception this

[1] The house is designed as a 2-storey domicile,

design idea moves relatively with the notion of

fragmented into 5 levels. It illustrates the convoluted

Tony Fry, that Architecture is a world-shaping force.

characteristic of networks such as the internet.[2]

[5] This building clearly conveys how it is to live with

Pursuing this design form decodes the message of

no solitude from the outside world. Through this

existing problems in the society. It helps us confront

technique it depicts how architecture plays a big

the reality in a large scale. This approach to address

role on how we relate with one another and how

a problem is parallel to the idea of using design as

it can stand as a form of communication. Hence,

a mean of foreseeing how things could result to-

in accordance with Patrick Schumacher’s words-

speculative design.[3] A form of design which

“The built architectural works that architecture DESIGN FUTURING | 6

releases into the wider social world lead a

The S-House is a product of progress shift of design

communicative double life: they speak to and

and it differentiates from the thinking of others.

intervene in communication systems outside the

The designer encompassed the tools available

autopoiesis of architecture, while at the same time

for developing such design considering materials

circulating within the architectural discourse as

such as glass panels and monochromatic colours,

examples, evidence, points of critical reference

and render using technology on how S-house

etc.� [6] Such architecture links the interior spaces

would look like from other’s point of view.

with its outward environment creating a more

could perceive how imaginative thinking travels

diverse universe for each of them. I am drawn to

to express creativity using technology to bring

the thought that the architect’s usage of materials

concept into reality.

such as glass panels and monochromatic colors,

made this architectural project relevant to a

attracts more people to stare and witness what is

wider social community. The designer built on the

happening inside. Through this method, people

imaginary design futures exploring alternative way

who have the chance to gaze at the structure

in targeting user of Internet and at the same time

are given a chance to view how others live their

relate to environment and social issues. The design

life and afterwards, reflect to themselves on how

also opened up many possibilities and it became

they live their own. In addition, proper placing of

more participatory for people who are ultimate

infrastrature is important to effectively execute a

beneficiaries of this kind of infrastructure. In diverse

design objective. I think that having this type of

technologies, they can bring about change in

building constructed at a residential area expresses

thinking and can merged complexity for easy

their target audiences who are people regularly

adaptation and utilisation.

exposed to the world of internet.

With this project, Karasawa aims to establish a foundation for an emerging kind of infastracture that seeks to deploy social issues.

We

Internet inspired design

FIG.1 THE INTERTWINING STAIRCASE

FIG 2. FACADE OF S-HOUSE

FIG 3. IMAGE OF WEST ELEVATION

FIG 6. THE KITCHEN

FIG 4. PROTRUDING SLANTED WALL MEETING

FIG 6. TOILET WITH TRANSLUCENT GLASS SURROUNDING IT

DESIGN FUTURING | 8

FIG 7. FACADE PATTERNED WITH THE FEATURE OF THE STAIRS CAUSING THE EFFECT OF CONFUSION

“Our hope is that this complex, layered network space will become a new architectural form that captures the various activities borne out of today’s informational society, where diversity and order are being demanded at the same time.”

- Arch. Yuusuke Karasawa

1.2

FIG 1. EXTERIOR PERSPECTIVE OF THE AIRPORT WITH THE LIGHT EMMITING THROUGH THE CEILING

Shenzhen International Airport Terminal 3 INFORMATION:

FIG 2. INTERIOR SHOWING THE COMMERICIAL SPACES; NATURAL SUNLIGHT ENTERS THE BUILDING THROUGH CEILING DESIGN.

Twenty-first Century paradigm, a description we can label on the Shenzhen Internationl Airport.

It’s flamboyant character that made it the quintessential pioneer of its style in the location.

In my opinion what made this structure more remarkable are the objectives of its architects – They envisage these spaces for travelers that are locally diverse and unique yet globally coherent.

[1] Spaces that uses technology in a refine manner than just simply incorporating it. Spaces that conforms to the necessities and entirety of the users.

Producing an intelligent space, that responses to its

Architect: Studio Fuksas Location: Terminal 3 Shenzhen, People Republic of China Year: 2008 Area: 400,000 m2

surroundings. For me, I find this analogous with the idea of Tony Fry[2] that in order to design well with the future we must broaden our horizons, venture into exploration and learn to communicate.

To enhance this notion, I think it would also be appropriate to put ourselves in the shoes of the users. We must keep in mind that designs have big implication to everyone around it.

DESIGN FUTURING | 12

Shenzhen Airport T3 is greatly chained with

the interior and exterior plan has provided a different

unimaginable technology that makes it stand out

perspective and a symbolic effect. It also paved

with the rest of its kind and because of the extensive

the way to allow the natural light intercede into

architectural experiences of the designers they

inner spaces that make it more cost efficient. [4]

have made it a point to study and experiment with

This technique allows light to enter the building

construction materials, concrete. Consequently,

reducing the energy consumption. Meanwhile, they

Fukas have made the edifice into an environmentally

have designed the building to recycle rainwater

conscious building in terms of energy consumption

for the toilets and the irrigation of indoor plants.[5]

and water usage. The exterior of the terminal is

Furthermore, being involved with technology like

fabricated

a honeycomb- like perforated

these develop in rationalizing about futures,[6] which

membrane[3] that is composed of metal and glass.

in the case of this airport exceeds the prospects of

The honeycomb design which is highlighted both on

today. They were able to achieve this design through

with

FIG 3. PANORAMIC VIEW OF INTERNATIONAL DEPARTURE IN

parametric design , a method which is distant from

and replicated in the interiors which is designed

the usual way architects design buildings today.

by Fuksas provided areas for security check and

Though this futuristic design I think they were able to

check-in.

implement the idea of possible futures and making

provisions for the motion, connection and flow of

them gears into comprehending the present-day

airport activities that made the spaces wider, spatial,

happenings and give discourse to the future people

interconnected and functional using computational

aspire. [7] “An architecture that embraces everything

design, algometric thinking and design futuring to

from life and work, to culture and ecology.”[8] The

maximize the potentials of technologies in addressing

different elements of the airport’s architectural

the purpose, the use and the sustainability of the

design embodied the different functionalities of

infrastructure.

[9] The architectural designs have also

infrastructure from departure to arrival including services. The honeycomb motif which is articulated DESIGN FUTURING | 14

FIG 4. EMPHASIS IMAGE OF ROOF, DISPLAYING ITS COMPOSTION AND DETAILS

“We use a lot of 3D. We start with 3D, with the model, with painting. For me, the 3D model and painting are exactly the same thing; I am not afraid, I am not a fanatic for 3D, I am not a fanatic for models or sculpture, drawings or for paintings. I think that everything is part of our process. I don’t think there is exclusively one too for the expression of ideas.”

-Massimiliano Fuksas (Australian Design Review Interview, 2011)

DESIGN FUTURING | 16

FIG 5. AERIAL VIEW CAPTURED FROM THE LOCAL DEPARTURES SIDE OF SHENZHEN AIRPORT SHOWCASING ITS ANOMALOUS FORM

DESIGN FUTURING | 18

References

A.1 DESIGN FUTURING 1.1 S-HOUSE IMAGES FIGS 1 - 7 S-House, Dezeen, (2014), <http://www.dezeen. com/2 014/10/14/yuusuke - ka rasawa - s- house - japan transparent-facade/>[accessed 16 MArch 2015]

FOOTNOTES 1. Magaly, NOTEY: homedsgn (S-house by Yuusuke Karasawa Achitects, 16 November 2014) < http:// www. notey.com/external/2777529/s_house-by-yuusukekarasawa-architects---homedsgn-design-kitchen-terracemodern-house-saitama-yuusuke-karasawa-architectsoomiya.html> [accessed 16 March 2015] (Page 1) 2. Ibid.

3.Anthony Dunne & Fiona Raby, “Speculative Everything: Design Fiction and social Dreaming”, (MIT Press 2013) page 2 4.Dezeen Magazinw (Yuusuke Karasawa’s maze-like S House has an entirely transparent façade, 14 October 2014) < http://www.dezeen.com/2014/10/14/yuusuke-karasawas-house-japan-transparent-facade/> [[accessed 16 March 2015] (Page 1) 5.Tony Fry, “Design Futuring: Sustainability, Ethics & New Practice”, (Oxford: Berg) Page 14 6.Patrik Schumacher , “The Autopoesis of Architecture : A new framework for architecture” , (Chichester, Wiley) Page 3

1.2 SHENZHEN INTERNATION AIRPORT IMAGES FIG 1, 3 - 5 Shenzhen Bao’an International Aiport- Terminal 3 (2008) <http:// w w w.fuk sas.it/en/Projects/Shenzhen - Bao%E 2 % 8 0 %99an International-Airport-Terminal-3-Shenzhen>, [accessed 16 March 2015] FIG 2 Monika Perez, Archemon ‘Lotnisko Shenzhen Bao’an’, (2014) <http://archemon.com/lotnisko-shenzhen-baoan/>, [accessed 16 March 2015]

FOOTNOTES 1.Fuksas, ‘Shenzhen Bao’an International AirportTerminal 3’, (2008) <http://www.fuksas.it/en/Projects/ Shenzhen-Bao%E2%80%99an-International-AirportTerminal-3-Shenzhen >pg. 1. [accessed: 16 March 2015] 2.Tony Fry, “Design Futuring: Sustainability, Ethics & New Practice”, (Oxford: Berg) Page 14 3.Dezeen Magazine , ‘Studio Fukas completes Terminal 3 at Shezhen Bai’an International Airport (26 November 2013) <http://www.dezeen.com/2013/11/26/studiofuksas-terminal-3-shenzhen-baoan-internationalairport/> pg. 1. [accessed: 16 March 2015] 4.Fuksas, pg. 1.

5.Dezeen Magazine, pg . 1.

6.Fuksas, pg. 1.

7.Tony Fry, Pg. 14-15.

8.Fuksas, pg. 1.

9.Ibid., pg 1.

DESIGN FUTURING | 20

DESIGN COM PART A.2 Computational Design Going beyond the parameters of architectural designs trigger the development of digital tools that provide new strategies in the design process, production and building construction. Social media and digital has shifted the way we look, think, create and practice architecture. Design computation has greatly affects the design process as it facilitates the expediency of modification of complex projects. Moreso, it provides the virtual effect on what the architectural project would look like in its final stage. Henceforth, it provides more detailed information that is understandable and provides a better view from the userâ&#x20AC;&#x2122;s perspective given a limited time.

MPUTATION We are all aware of that the design process is not done in one sitting alone. It takes several revisions to come up with the final look considering the requirements it entails from size to thickness, from materials to colour, from sketching to rendering. Through design computation, whatever changes in the process could easily execute. At the same time, we could provide several design options to choose from. As architecture move forward from analog to computer-aided design, it has created a myriad of opportunities and innovative solutions in the construction industry as well as among other inter-connected fields.

2.1

ArtScience Museum

FIG 1. WORM’S EYE VIEW OF THE ARTSCIENCE MUSEUM PORTRAYING AN OPEN PALM OR A LOTUS

INFORMATION:

Architect: Safdie Architects Location: Singapore, Singapore Year: 2011 2 Area:15,000 m Associate Architect: Aedas Ltd. Pte

FIG 2. FIRST AREA UPON ENTRY: ‘CURIOUSITY GALLERY’ SHOWING THE DEVELOPMENT OF DESIGNS FOR ARTSCIENCE MUSEUM

Is Science and Art inter-related? That is the main

coincides along with ‘Digital architecture’ acting

question this building is trying to impose.

Architecture culture’s attempt to divest itself of the representational as the acting Architecture culture’s

The ArtScience Museum is a ground-breaking building for the country of Singapore. It is one of the first buildings in the country to set foot in BIM technology [1] or also known as the Building information modelling and it is also exclusively the first one to use “glass fibre-reinforced polymer” [2] as part of its construction. The resulting aesthetics of an open palm or lotus blossom was obtained from the architect’s ‘search for rational geometry.’ [3] I think that the appearance of the building was also a result of extensive use of architectural computer

attempt to divest itself of the representational as the dominant logical and operative mode of formal generation of Design’ message brought about by Oxman.[4] We can generate ‘Material ecology’ to coincide with a rigorous system of architecture through computational modelling. [5] This pursues to show the multiplicity of architecture and its involvement with different sectors of design.

The fluctuation in form and use of materials, and production method dominates the evolution of digital architecture [6]

programs that could generate unconventional aesthetics and give the designer the potential to

I think that technology as branch of science is

further study materials and building composition.

significant to be able to utilize a great building.

The notion of using programs to articulate designs,

Having the capacity to use BIM today would be

FIG 3. ARTIST IMPRESSION OF THE ARTSCIENCE FRAMEWORK

FIG 4.

ARTSCIENCE MUSEUM MODEL USING BIM TECHNOLOGY

greatly beneficial in foreseeing the conceivability

Upon entering the facility you would view how the

of a building and at the same time its performance.

structure resonates the consistency of its concept-

Because of the technology used, he was also able

integrating of science and art. Safdie was able to

to integrate sustainability in his design. Through

manipulate and enhance the users’ experience by

the BIM, he managed to take advantage of the

motivating them to get involved with the structure

formation of this structure by allocating water

and contemplate within themselves. For me the

collection in the centre of the atrium [7] that could

building is an abstraction of how we are able to

be used for the building’s plumbing system, and

find our creative side. It first starts on the ground

consequently use the tips of the fingers of the

slowly moving up until we are able to reach it

known “open palm” structure as skylights[8].

within our tips. This innovation of abstraction was helped develop by the technology the architect

Through the design of Moshe Safdie, he was able to epitomize the aim of the museum, to merge art and science. He was able to deliver this design objective through having innovative production techniques and avant-garde aesthetics. The underlying goal – to prove art and science as

was able grasp. This type of practice corresponds to Yehuda Kalay notion that the enlargement of computer software opened another chapter for better access to information and improved communication to be able to make more people involved with the design process. [10]

symbiotically aligned [9] has been exemplified through the building’s innovation.

DESIGN COMPUTATION | 26

“Art can influence science, and similarly, developments in Science and Technology have catalyzed artistic innovation.”

- Lilian Kuo

The Singapore ArtScience Musuem a modern marvel of science, technology and art. (2011)

FIG 5. FACADE OF ARTSCIENCE MUSEUM

2.2

Glenda is_

FIG 1. 3D VISUALISATION OF GLENDA IS_ THROUGH COMPUTER SOFTWARE

INFORMATION:

Curator: SomewhereSomething Location: Glendale, California, USA Year: 2014 Area: 600 m2 Team: Robbie Mehring, Kevin Crooks Medium: Steel + vacuum formed plastic FIG 2. USING TWITTER AS MEANS OF CONTROLLING GLENDA IS_

Technology has revolutionized the planning

users in the areas. During null moments and when

and production of design. It has taken its capacity

no tweet has been made, it will run through

into another level. The “Glendale is_” project

its default program. [5] The composition of this

by SomewhereSomething[1] literally exemplifies

installation was derived through morphing and

how technology was used to react on the users’

sweeping [6] geometry.

desires. Technically, the installation is suspended in the ceiling and has “140 vacuums formed partially translucent acrylic cells, each of it has an individual addressable Neo-pixel RGB LEDs.”[2] The project was fitted to modify according to how the users want it to appear- specifically the colours. The designer made the collaboration of the existing social media network- Twitter and the design platform of Rhino. [3] Through this scripting, he has coded it to respond to the inputs of the citizens in twitter that will eventually take effect on the exteriority of the Glendale is_. The design pattern emitted by the light also is stimulated by the community and ‘hyper-locally’ [4] by the

The use of computers to constantly support the system and the function of such projects makes it more convenient for the designer and enjoyable for the users. Through this technique, it has emphasized the involvement of the occupants to the growth of the practice. The use of modelling technology has engaged designers to produce more interesting outcomes. They are given the chance to experiment further with the materials of the objects and how it can be formed through outsourcing from the information they can gain in computer programs.

FIG 3. ACTUAL PROTOTYPE IN GREEN

FIG 4. PROGRAMMING GLENDA IS_ USING RHINO

DESIGN COMPUTATION | 32

I can see this project very well oriented to technology by its successful execution. It exhibits how computers and humans mesh. According to Yehuda, the ability of human and computers to share information, is pursuable through a clear conversation of ideas- if a human encodes clearly to the computer it will be able to comprehend it to the form the human wants to convey and reversely with the humans interpreting computers,[7] and on her notion on of the role of the computers as a support to designers.[8] I have also formed the opinion that, I see SomewhereSomethingâ&#x20AC;&#x2122;s project meeting the idea of Yehuda Kalay on how design is a â&#x20AC;&#x2DC;purposeful activity, [9] by looking at how SomewhereSomething aimed to produce an installation that yields to help the users express their thoughts and ideas- seen through the mode of colours. For me, it has also helped us view how colours also connote what we feel.

FIG 5. ACTUAL PROTOTYPE IN PINK

FIG 6. 3D VISUALIZATION OF GLENDA IS _ ‘S REACTION TO TWEETS THROUGH SCRIPTING

DESIGN COMPUTATION | 34

FIG 7. PROGRAMMING GLENDA IS_ USING RHINO

DESIGN COMPUTATION | 36

References

A.2 DESIGN COMPUTATION 2.1 ARTSCIENCE MUSEUM IMAGES FIGS 1 ’ Excape into Fantasy Land’,Swathi Shenoy, Life Paper Blog, (7 June 2014), <http://life.paperblog.com/escapeinto-fantasy-land-942913/> [accessed 17 March 2015] FIG 2 ‘Permanent Exhibition’, Marina Bay Sands, (Date Unknown), <http://www.marinabaysands.com/ museum/exhibitions-and-events/permanentexhibit.html> [accessed 17 March 2015]

2.2 GLENDA IS_ IMAGES FIGS 1 - 8 Screen capatures of Videos, Somewhere Something, (2014), <https://vimeo. com/91714606> [accessed 17 MArch 2015]

FOOTNOTES

FIG 3 ‘Museum ArtScience’, Tekla, (Date Unknown), <http:// www.tekla.com/node/3892> [accessed 17 March 2015]

1. Biayna Bogosian, ‘Glendale is_’ (2 January 2015) <http://biaynabogosian.com/2015/01/02/ glendale-is_-2/ > [accessed: 17 March 2015]

FIG 4 ‘BIM models of the Art Science Musuem’, MND Singapore, ( 15 May 2012) <https://mndsingapore.files.wordpress. com/2012/05/picture2.png>[accessed 17 March 2015]

2. Ibid., pg1

FIG 5 ‘ArtScience Museum atMarina Bay Sands (B&W)’ (Date Unknown) <http://www.humblerooster. com/wp/photography/architecture/marinabay-sands/> [accessed 17 March 2015]

FOOTNOTES 1. MND Singapore , ‘Adding Fun to Serious Work’ (15 May 2012) <https://mndsingapore.wordpress.com/2012/05/15/ adding-fun-to-serious-work/2 > [accessed 17 March 2015] 2. Lidija Grozdanic, Inhabitat , ‘Rainwater-harvesting ArtScience Museum Floats Like a Lilypad on a Singapore Waterfront’ (10 October 2014) < http:// inhabitat.com/rainwater-harvesting-artsciencemuseum-floats-like-a-lilypad-on-the-singaporewaterfront/ > [accessed 17 March 2015] 3. Lillian Kuo , ASBMB, ‘The Singapore ArtScience Museum : a modern marvel of science, technology and art (August 2011) < http://www. asbmb.org/asbmbtoday/asbmbtoday_article. aspx?id=13700&page_id=1 > [accessed 17 March 2015]

3. Ibid., pg1 4. SomewhereSomething, ‘Glendale is_’(2014)< http://somewheresomething. com/ > [accessed: 17 March 2015] 5. Biayna Bogosian, pg. 1.

6. Ibid., pg 1 7. Yehuda Kalay, ‘Architecture’s new media: Principles, Theories and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004) pg. 7.

8. Ibid., pg 8.

9. Ibid., pg 9.

4. Rivka Oxman and Rober Oxman, ‘Theories of the Digital in Architecture’ (London; New York: Routledge, 2014), pg 1 5. Ibid., pg 6.

6. Ibid., pg 8.

7. Lillian Kuo, pg 1.

8. Ibid., pg. 1.

9. Ibid., pg. 2.

10. Yehuda Kalay , ‘Architecture’s new media: Principles, Theories and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004) pg. 13.

DESIGN COMPUTATION | 38

COMPOSITION PART A.3 Composition / Generation Taking its definition, algorithmic philosophy means taking on an informative guide to understand the generated code, and able to use this code to create, modify, explore and experiment new ways for further development and improvement of design potentials.

Architecture has shown a shift from the drawing to the algorithm as a means of expressing, designing and interpreting designs.

The building of algorithmic thought used to provide increased efficiency and better communication in a collaborative way, as the digital architectural design has the ability to execute complex models of infrastructure as well as solicit feedback using digital platform.

/ GENERATION From generation to generation, new technologies and techniques will continue to research and develop that will cause changes in Architectural discipline, practice and boundaries and would even bring significant effect and tweak in the design process and delivery of architectural projects. Convergence of other disciplines will take place for greater productivity, efficiency and to provide people with more convenience and choice.

3.1

f

orm ollows abrication

- Barkow Leibigner Architects (Dam Pavilion, 2008)

INFORMATION:

Curator: Barkow Leibigner Architects Location: Museum Fur Angewandte Kunst, Frankfurt

premise [3] and later on come up with a mass customization of arch that has its construction originating from bending with manifold of radii. [4]

The development of formation was a result of the factors they have set for that the qualities of the

What is the purpose of a pavilion? Do we just simply

geometry that must have such as its ability to be

create without any purpose intended?

deformed, expanded and vertically manipulated

For Barkow and Leibinger a pavilion instills

[5] that will work accordingly with their material-

a speculative and pragmatic design [1] He first

tube metals. The formation was also said to work

planned his design by getting to know the material

well with the site and its other specifications. [6]

he will be using. He sought after the materialâ&#x20AC;&#x2122;s resiliency and its vitality. With this design, he goes

He also considered environment and use of

along the saying that â&#x20AC;&#x2DC;form follows fabrication.â&#x20AC;&#x2122;[2]

natural resources such as trees and lighting not

The formation of his design mattered on the

just for aesthetic value but for conservation and

capacity of his chosen materials. Together with

sustainability.[7] In conceptualizing and bringing

digital method, he worked along a rule-based

the pavilion into reality, technology as a tool made

FIG 1. DAM MODEL PRESENTER WITH FIRST MATERIAL

it more easy to compute for space, scale,

adaptability and the overall look. Expanding

dimension, size as well as its appearance that

the possibilities of architecture may lead to

would be congruent to the users of the pavilion.

the enhancement and development of new

- parallel to the idea of Brady Peter that we can

technological tools for construction and other

modify easily the computer generated projects [8]

disciplines including their methods, practice and principles.

The entirety of the pavilion has demonstrated its condition using a parametric principle that connected to structural standpoint. [9] To make it more spatial in perspective yet cohesive with its critical elements, various components have reinforced and arranged using the computational design.

Complex shape, use of curves and

fabrication intertwine the natural and machinemade elements of the pavilion and its surrounding.

[10] In the design process, the specific details have also substantiated the design, production, COMPOSTION / GENERATION | 44

FIG 2.

DISSECETING DIFFERENT COMPONENTS OF DAM PAVILION THORUGH COMPUTER SOFTWARE

FIG 3. PARAMETRIC MODELING

FIG 4. DAM MODEL PRESENTED WITH SECOND MATERIAL

FIG 5. DAM MODEL PRESENTED WITH THIRD MATERIAL

COMPOSTION / GENERATION | 46

3.2

Sigmund Freud Pavilion

FIG 1. SIGMUND FREUD PABILION DIGITALIZATION

FIG 2. DAM MODEL PRESENTED WITH THIRD MATERIAL

inclusion

INFORMATION:

of

how

entities

interacted

within

themselves and with nature. He was also able to

Curator: Christoph Hermann Location: Sigmund Freud Park. Vienna

consider the articles, formation, topography and other things to cogitate in the land. The success of his design was accomplished through the use of

Typically,

BIM (Building Information Modeling) together with pavilions are built mostly in an

a program named ‘Gehry Technologies Digital

area just to simply stand out and be recognized

Project.’ [3] For me Hermann created a figurative

as exceptional, but Sigmund Freud Pavilion

interpretation of an open space through the

defeated the odds and decided to blend in with

execution of lightness and ease on his chassis. I

the environment. This quality made it prominent

believe a big part of the technology that used,

among the rest.

helped it to create this impression. Brady Peters idea on the function of computers as a tool to digitize Christoph

the practice of architect and of designers,[4] is

Hermann was able to exemplify his project’s

contiguous to the production of this pavilion. The

goal- not to make the structure as a distorted

role of Gehry Technology Digital Project seizes to

fragment [1] amidst the landscape. With the use of

make architecture economical. It seeks to resolve

parametrical system [2] in designing there was an

inadequacies prone to architecture.

Through

parametrical

modeling

FIG 3. DAM MODEL PRESENTED WITH THIRD MATERIAL

The participation of owner in the project from

make architects ahead of their game and at the

conceptualization to operations have evolved

produce a sustainable outcome. For me this pursues

a new dimension in the development process of

the opportunity to let designers and architects

design in which collaborative efforts can be directly

really design freely and abstractly. Technology

inputted in the application of new technologies.

really erupts ideas in a person, comprehends what

[5] This collaboration has positioned the business

is unfathomable. With this ability, architects tend to

more strategically. The 3D modeling effect has

have a bigger scope projects with ease; according

transformed and elevated both the architecture

to Peter computerization allows designers to

and construction industries as it construed

extend their abilities to deal with highly complex

the design, production and installation more

situations.[7]

understandable and visible from the perspectives of designers as well as of the users. [6]

For me you can witness how easily an architect can play with the figure of the building without fearing that it may not be built and that it may have a great impact in nature. With the use of these computer programs it has provided aids to COMPOSTION / GENERATION | 50

FIG 7. 3D MODELING OF INTERIOR OF SIGMUND FREUD

FIG 5. SIGMUND FREUD CONCEPTUALISAITION

FIG 6. SIGMUND FREUD ACTUAL MODEL

FIG 8. 3D MODELING AND RENDERING OF SIGMUND FREUD PAVILION

References

A.3 COMPUTATION/ GENERATION 3.1 DAM PAVILION IMAGES

3.2 SIGMUND FREUD PAVILION IMAGES

FIGS 1 - 6

FIGS 1 - 8

‘Dam Pavilion’, Screen capatures of Pictures, (2008), <http://www.barkowleibinger.com/archive/view/ dam_pavilion#> [accessed 18 MArch 2015]

‘Sigmund Freud Pavilion’, Procedural Archictecure and design (Date Unknown), <http://www.christophhermann.com/parametric-architectures/parametricarchitecture-pavilion/> [accessed 18 MArch 2015]

FOOTNOTES 1. Barkow Leibinger, ‘Dam Pavilion’, (2008) <http:// www.barkowleibinger.com/archive/view/ dam_pavilion#> [accessed 18 March 2015] 2. Ibid, pg. 1 3. Ibid, pg. 1 4. Ibid, pg. 1

FOOTNOTES 1. Christoph Hermann, ‘Sigmund Freud Pavillion, Parametric Architecture’ (Date Uknown) <http://www.christophhermann.com/parametric-architectures/parametricarchitecture-pavilion/ > [accessed: 18 March 2015] pg. 1.

2. Ibid, pg 1.

3. Ibid, pg 1.

5. Ibid, pg. 1

4. Brady Peters, ‘Computation works: The building of Algorithm Thought’, (2013) Architectural Design, pg.10.

6. Ibid, pg. 1

5. Brady Peters, Pg 13.

7. Ibid, pg. 1

6. Gehry Technologies, ‘Clients / Owners’ (Date Unknown) <http://www.gehrytechnologies.com/en/ clients/owners/ > [accessed: 18 March 2015]

8.Brady Peters, ‘Computation works: The building of Al gorithm Thought’, (2013) Architectural Design, pg.10.

7. Brady Peters, Pg 14.

9. Barkow Leibinger. 1 10. Ibid, pg. 1

COMPOSTION / GENERATION | 54

Conclusion With the knowledge I have gained through studying these

precedents and indulging myself with the different ideas from the readings. I intent to approach my design through deliberating the materials first, as I have witnessed a great number of exemplary outcomes that were derived from the qualities and capacities of elements and together with this information I shall explore different formations through digitalizing these precedents. Having this input to a program will help me determine its feasibility and rationalise the way I could improve its humanizing quality. The best way Iâ&#x20AC;&#x2122;d be able to manifest innovativeness when designing is to communicate with the plausible occupants and try to connect with them- study their lifestyle, know their experiences in the location and what kind of design they foresee for their community. Through I am able to design with a purpose and a goal. Through knowing the complications that I may encounter would also help me to plan future solutions and avoid fabrication that could worsen situations.

My main objective will be to never stop exploring the possibilities.

â&#x20AC;&#x153;Unless you try to do something beyond what you have already mastered, you will never growâ&#x20AC;?

- Ralph Waldo Emerson

Learning Outcomes My exposure in designing parametrically has provided me

a paradigm shift on the way I think and do things. Technological developments and advancements in architectural designs have offered me limitless and endless possibilities in the design solutions. The influence of a good design lies in the relationship between the designer and the user. And in designing projects with wide range and complexity, the learnings I gained would significantly aid me make better decisions on the appropriate approach and digital tools for execution and implementation.

Equipped with theory and practice of architectural computing, I feel confident in thinking and designing the essential elements of the workflow both from the context of the user and my own ideas using algorithmic programs and architectural computation for greater efficiency and better outcomes.

The

challenge I have is to probe on how Architecture has imprint in the digital world. In the global age, it has opened new doors for architecture as it boons new strategies and approaches. .

Development of digital tools provides many opportunities in the design process, production and structure which redefine the new practice of architecture. It makes ways for contemporary designs to sprawl over a period of time. In the end, the evolution and advancement of architectural approach may require a change, a shift in the mindset of the designer and the user. Such as equipping oneself require to work from independent to collaboration, from static to motion and from analogue to digital. Parametric archetypal, algorithm, computational model and the likes in architecture bring power to explore new ideas, stretch and maximize the potential of technology and provide inspiration and solutions beyond the way the designer thinks. With its advantages, I think its more challenging to create a design today, in the sense that now everyone has the capacity to employ great aesthetics and fabrication by generating it through computers.

LEARNING OUTCOMES | 56

ALGORITHMIC

SKETCHES The most interesting example of algorithmic sketch I have would probably my first trial. Having no experience with rhino helped me find my way to end with form through exploration .

I really enjoyed the fact that through this software I was able to come up with abstract formation in making a vase.

ALGORITHMIC SKETCHES| 58

PART B Criteria Design

R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R

RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION RECURSIONRECURSIONRECURSIONRECURSION

recursion

This research field that I chose focuses on the processes called Recursion, which is used in the field of architectural design to formulate an aesthetic that is repetitive and has a looping effect.

From the word itself, recursion is defined as a process of creating repetitions or duplications in a structured manner to produce output or product in relation to its earlier form. It is also known as â&#x20AC;&#x153;the Droste effect.â&#x20AC;? [1] The Droste effect illustrates an image in its reduced form of itself in a location where a parallel image would be expected to reflect or also termed as a self-referential system. [2] Although the process is repetitive in nature, recursion creates opportunities in boosting the technological advancement through innovative and repetitive method of architectural production. In the process of recursion, there are development of scripts, which supports and facilitates easy way of looping items and procedures such as the use of cluster commands and plug-ins like hoopsnake and anemone. The phenomenon of recursion provides the designer to fully maximum the potential of technology in repetitive sequence and use script to construe a precedent. To further discuss this several illustrations below are shown for better understanding and to demonstrate the concepts and processes.

CRITERIA DESIGN| 62

RESEARCH FIELD B1

RECURSIVE GROWTH The Ver y Many

FIG .1 RECURSIVE GROWTH BY THE VERY MANY

Recursive Growth (The Very Many) The Recursion Theory was originated in the 1930s through the establishment of Turing computability for the formalization of effective calculation done by Kurt Godel, Alonzo Church, Alan Turing, Stephen Kleene and Emil Post.

The results arrived at a hypothesis that any function that is computable by an algorithm is considered as computable function. (3) Recursion Theory is also known as computability theory. It is subsumed under computer science, mathematical logic, computation theory associated with the study of Turing degrees and computable functions.

This theory likewise connected with proof theory, descriptive set theory, model theory and abstract algebra. (4) Recursion is as a method of defining functions in which the performance being defined is applied within its own definition. It is a process of iteration of items in a self-similar way. One concrete example to show this is the surfaces of two mirrors where each one is parallel with one another that formed recursion. In architectural design, the concept of repetition is applicable for high repetition within its model.

(5)

Recursive growth to some extent develops a probable for structural forms finding when its force is applied on a surface associated with the impression of pressure. In this case the pressure is pragmatic into four triangulates appearance, one remains normal to the force and parallel to the original while the other force is presenting a new type at each generation, and there is one specific force which enable to generate identical triangles and maximize the repetitive of the parts to one type. (6) There were many explorations for design research and problem solving. Recursive growth from efficiency perspective sought to maximize iteration and looping items for desired outcomes as well as looked into irregularities so designer himself can re-do certain steps and to introduce other approach for uniqueness and address asymmetries. (7)

RESEARCH FEILD| 66

CASE STUDY 1.0

Developing a

RECURSIVE GROWTH Recursive growth are produced based on algorithms [8] that is manipulated through the constant modification of variables.

The algorithmic scripture then follows a repetitive pattern using data loops, and eventually further developes into an expanding structure.

3D GEOMETRY

LOOP BEGINNING

LOOP END

NUMBER OF ITERATIONS

JOIN COMPONENTS DECONSTRUCTING BREP

CENTER OF POLYGON

MANIPULATE CENTER POINT

MERGE ALL

LIST OF ITEMS EXTRACTION OF NORMALS IN MESH

POLYLINE

LIMIT

X3

FIG. 3 Reverse Engineering Result

FIG. 4 SAMPLE PHOTO OF RECURSIVE GROWTH

CASE STUDY 1.0 | 70

RECURSIVE GROWTH ITERATIONS

Starting Geometry: Tetrahedron Number of Iteration: 4 Length: .8 Math Operation Used: Multiplication

Starting Geometry: Cube Number of Iteration: 4 Length: .8 Math Operation Used: Addition

Starting Geometry: Tetrahedron Number of Iteration: 4 Length: .8 Math Operation Used: Division

Starting Geometry: Plane Surface Number of Iteration: 8 Length: 15 Math Operation Used: Division

Starting Geometry: Rectangle Number of Iteration: 5 Length: 2 Math Operation Used: Multiplication

Starting Geometry: Cube Number of Iteration: 5 Length: .15 Math Operation Used: Division

Starting Geometry: Plane Surface Number of Iteration: 3 Length: .15 Math Operation Used: Addition

Starting Geometry: Pentagon Number of Iteration: 5 Length: 15 Math Operation Used: Subtraction CASE STUDY 1.0 | 72

SELECTION CRITERIA The selection criteria used are stability, appropriateness to environment and adjustability to the necessities of the architectural design outcome. As I have learned about the potentials of computational process in the architectural design, I adapted and used the Grasshopper and its plug-ins in generating my own design solutions. The use of iterations formed different images that enhanced my design. By developing a structure or system and detailing its process, I was able to gain a better understanding of the features of the recursive growth and its outcomes as well as perceived their limitations in manipulating some of the items.

The structural formation should be realistic in nature to make it more appealing. The selection criteria based on its function would be independent to its design outcomes. Ultimately, the final outcome was selected because of the balance, visual and flexibility of design, and because of the uses it provides. In terms of stability of the structure, it would suffice to withstand with the weather condition in the place, the presence of natural ventilation, number of users at the same time. A certain degree of structure is an essential element especially if they are to function. Meaning to say, selection criteria for stability of structure should respond to purpose.

In my opinion, the form produced out of the recursive growth is more applicable and feasible compared to the L-system that would be discussed in the succeeding portion of this brief.

Starting Geometry: Tetrahedron Number of Iteration: 4 Length: .8 Math Operation Used: Division

Starting Geometry: Rectangle Number of Iteration: 5 Length: 2 Math Operation Used: Multiplication

Starting Geometry: Cube Number of Iteration: 4 Length: .8 Math Operation Used: Addition

Starting Geometry: Tetrahedron Number of Iteration: 4 Length: .8 Math Operation Used: Division

CASE STUDY 1.0 | 74

CASE STUDY 2.0

STUTTGART AIRPORT Architek ten von Gerkan. Marg und Par tner

FIG .5 STUTTGART COLUMN USES L-SYSTEM AS ITS DESIGN

The terminal building of the Stuttgart Airport illustrated how designers explored shapes using algorithms integrated with Rhino’s 3-D modeling tools. It condensed to the basic forms depicting triangular cross-section and rectangular-shaped hall. Terminal 1 is characterized by tree-shaped steel columns as well as the dike-shaped building bar positioned towards the apron. It provides building depth and a spatially floor area that is connected to the laconic main bar building which is separated with glass roof lights served as reflectors.

The architectural design of the Stuttgart Airport provides efficiency and sustainability of infrastructure. The different areas and functionalities such as the aircraft location, cellar rooms, storage, flooring, parking, conference centre, passengers’ bridges and other facilities are also designed to allow mobility and comfort. The façade also projects typography of its surroundings. Therefore, programming and scripting allows the designers to build form generators from simpler geometry to amazing design such as Stuttgart Airport.

WThe structural element protruding from the building is the placing of the access elements allowing perpendicular visual connects an orientation in the new “Terminal of Clarity.” (9) The roof of Terminal 3 provides a single shed areas which maintain the tree structure inspired from Terminal 1. The tree-shaped are made of steels that support the roof. (10) The terminal has maximized the design of the tree-shaped from the roof load is transmitted down into the twigs supported by thicker branches and strengthen by one tree trunks to serve as base.

(11) The presence of a movable mirror also allows the sun rays pass through the area down to the floor tiles which gives a good atmosphere.

Within the new environment of the airport, the ventilating system including the ventilation technology has form part of the design tool. (12)

CASE STUDY 2.0 | 78

R E V E R S E 1. Set points using ‘Construct point”, this will help you configure the angle for the initial branch. Then merge into a ‘Line’ to create the first pair of segments.

2. From the first pair of branch connect into the ‘Goup command that will be later on integrated to the loop.

3. Connect the endpoints of the beggining branched to “End Points” to determine the starting point of the next set of branches.

4. Multiply the set of original branch lines into an integer, depending on the scale that you want to achieve.

5. Orient the branches through setting a new plane.

6. Ungroup the set of branches to establish the new pair of lines by plugging the “Ungroup’ to a new ‘Line’ command.

7. Connect new line command to “Hoopsnake” and into the first ‘Line command’. State a condition and the number of iteration needed. Afterwards, plug-in the desired output from hoopsnake, at the ‘Commulative feedback’, which is another ‘Line’ command.

8. Then plug the whole script into pipes to produce a 3D creation and mirror it to get the number of sides as the original column at the Struggart Airport.

ENGINEERING

FIG.6 FINAL OUTCOME

CASE STUDY 2.0 | 80

Hoopsnake

Further exploration of generating an L-System

FIG . 7 DEFINITION OF L-SYSTEM USING HOOPSNAKE FOR REVERSE ENGINEERING

TECHNIQUE DEVELOPMENT

L-System The L-system theory is a form of algorithm based on model plants and their development processes. As the advancement of Architecture evolves over a period of time in designing, visualizing and modeling, algorithms processes is also integrated into scripting computer languages such as CAD, Grasshopper, Rhino applications (13) which provide different visual perspectives and design forms such as 2D and 3D. L-system can also be assimilated into a parametric system that attributes to environment and to adjust to the different requirements (14) of the architectural design.

Hoopsnake 2-POINT GENERATED L-SYSTEM

TECHNIQUE DEVELOPMENT | 86

3-POINT GENERATED L-SYSTEM

TECHNIQUE DEVELOPMENT | 88

4-POINT GENERATED L-SYSTEM

TECHNIQUE DEVELOPMENT | 90

5-POINT GENERATED L-SYSTEM

TECHNIQUE DEVELOPMENT | 92

6-POINT GENERATED L-SYSTEM

TECHNIQUE DEVELOPMENT | 94

SELECTION CRITERIA Selection Criteria (L-System) In the subsequent criteria, it was done considering adaptability, symmetrical, abstract, aesthetic value and functionality. I used algorithm technique by using hoopsnake as plug-in to generate the L-system which resulted to vague images. For me, it is more appropriate to use this scripting solely to serve as design inspiration because the design outcome is in abstract form.

As I developed further the design, I also took into account the balance, creativity and artistic elements. However as there are certain decisions we have to consider before starting the design, during the design process and after the design process, which is the outcome or the final product. I also can not stray away with its adaptability and functionality of the structure. How it will blend with the identified location? How will it support with the operations and activities of the place? What appropriate materials to be used? And how it will be sustained? The algorithms or computing design may provide alternatives or options for design solutions but in terms of other factors such as functionality and adaptability, it could only be tested in the actual situation or utilization.

2- POINT X- 1000 Y- -70 Z- 100

3- POINT

X- 1000 Y- 100 Z- 100

X- 0 Y- 0 Z- 31

4- POINT X- 1000 Y- 0 Z- 100

X- 0 Y- -44 Z-0

X- -31 Y- -78 Z- -31

X- 0 Y-31 Z- 0

X- 0 Y--31 Z- 0

5- POINT X- 0 Y-6 Z- 100

X- 90 X- 80 Y-90 Y- 90 Z- 50 Z- 60

X- 70 Y- 90 Z- 70

X- 60 Y- 90 Z- 80

X- 50 Y-90 Z- 90

TECHNIQUE DEVELOPMENT | 96

ANEMONE Further exploration of generating an L-System

initial curve end of loop

beginning no. of

of loop

iteration curve endpoint curve output

evaluation of

merge

curve end point

into line

rotation of

rotation of

vector 2

vector 1

length depreciator In the process of recursion, scripting is used to make it convenient for the looping items and procedures particularly the use of cluster commands and plug-ins. Anemone in particular is used to exhibit this process. (15) Through anemone plug-in, I was able to create loops in Grasshopper.

Using the simple workflow from the loop starts down to loop ends, and vice versa where loop ends transmit data back to loop starts. Repetitive pattern can be used to increase the loop count without removing the data. (16) For me, Anemone is basic yet an effective design coding. It displayed loop based on algorithms, exploration of parametric modeling, architectural geometry and design computing. Above is a demonstration of my Grasshopper Anemone to figure it out.

The Anemone version of the L-system is what I decided to pursue to use for the project due to its simplicity and constructability. However, compared to the previous Hoopsnake definition, this script produces 2D version of L-systems.

In any design process and in the field of architectural design, prototypes are important as they brought fulfillment and confidence in achieving the desired outcomes and their impact.

In this project, I have developed three prototypes that provided different parameters and propositions which I will tackle respectively.

TECHNIQUE: PROTOTYPES

TECHNIQUE: PROTOTYPES

PROTOTYPE: A

PROTOTYPE A

For the first prototypes are the tree-shaped panels which serve as columns engrained from the ground. These columns are interconnected with the two circular counters to serve as tables and benches for various Collingwood Childrenâ&#x20AC;&#x2122;s Farm activities and event. These vertical columns and horizontal circular counters are interlinked using slots and are made of pre-fabricated marine plywood.

The proposed shape of the instilation helps the slot connection to stay firm and stable as it tightens up pushing towards the center.

TECHNIQUE: PROTOTYPE | 102

PROTOTYPE: B

PROTOTYPE B

For the second prototype, as I added the roofing. I think of materials that would link to the vertical columns and horizontal counters. Taking into consideration the functionality, aesthetic and adaptability, and with the presence of natural ventilation and lighting, PVC is used as roofing for easy assemble and disassemble of the structures. However, it was unsuccessful because of the roof deformation as the joints are not attached properly.

TECHNIQUE: PROTOTYPE | 104

PROTOTYPE: C

PROTOTYPE C

For the third or last prototype, I addressed the risk of failure from roof deformation, which becomes successful. The joints of the columns interlinked to the PVC roofing are joined in such a way they are residual to weathering and strong wind. The ability of the structure to hold together and the function of the final outcome for actual utilization are considered, and to make this prototype damage free. It achieved the desired effect of easy to assemble and dismantle and yet sturdy for their use, easy to replicate as well as to complement the purpose and requirements of the location.

TECHNIQUE: PROTOTYPE | 106

Design is how it works.”

-Steve Jobs

TECHNIQUE: PROPOSAL

“Design is not just what it looks like and feels like...

Collingwoood Children’s Farm Collingwood

Ch

il d

ren ’s F a

ec

r m Pr os p

atiotion lo c on at i t ill ns ti

Collingwood Children’s Farm established in 1979 with the support from the former Collingwood City Council and other stakeholders is situated 5 kilometers from the centre of Melbourne. It is a not-for-profit community farm and open for public every day with a minimal entrance fee. (16) It provides country experiences to its visitors especially to children, and envisioned to provide first-hand experience and a close encounter with farm animals and nature. Horticulture include planting, weed management, gardening, compositing, landscaping and other farm nature activities. At the Farm, people can milk cow, feed the animals such as young lamb, sheep, goat, chicken, duck, horse and others, hold a guinea pig, do farm activities that could help learn on how to take care animals and nature.

Sustainable farming and environmental practices is also invigorated at the Farm. Community groups and farmers planted trees to provide habitat for birds, insects and other animals. The plants and trees at the farm have planted for shelter, flood control, habitat, timber, lumber and for other purposes. The Farm also grew vegetables, fruits and plants for animal and human consumption. Horticulture and agriculture practices such as biodiversity, organic farming, land care values and ethics, and sustainability is being practiced at the Farm and this is made possible through the involvement of the farm community.

The Collingwood Children’s Farm is being operated by the Farm’s Committee of Management that provides strategic direction and oversees its management.

(17) The operation of the Farm comes from the contributions of the service clubs and philanthropic trusts and the largest part of its fund comes from entry fees, donations and through the work of volunteers.

(18) The Committee is also seeking passionate volunteers to help in the animal management and care, agriculture and land care, veterinary and other farm chores. The Farm offers plenty of work to people of all ages including young adults who maintain the Farm on a voluntary basis. (19) Within the farm, you can also find restaurant and café that provide menu for visitors at reasonable costs. Fruits, vegetables and food are prepared and sold at the Farm during various Farm events including the Farmers Market, school holidays and family days. The Collingwood Children’s Farm does not only provide rural experience through educational and recreational activities, it is also rich in history and considered as one of the heritage of Victoria and the National Trust. (20)

Actual photo from site visit was used as background for proposed location and set up.

TECHNIQUE: PROPOSAL| 110

Actual photo from site visit was used as background for proposed location and set up.

THE PROJECT This project started in its simple form, and used repetitive or iteration approach to generate architectural form. The tree-shaped columns are generated from algorithms. Each of the tree-shaped columns is interlinked with the two circular shapes to serve as table and bench.

The conception and design of this project is inspired and influenced by the ambience and the purpose of the Collingwood Childrenâ&#x20AC;&#x2122;s Farm where nature and educational purposes is embedded in the design. The phenomena of the design are to encourage visitors for interaction, for relaxation and for collaborative and productive activities not only for children but for the entire family. The fun and friendly atmosphere is embellished of the bushes design articulated through geometrical process. The prototypes are constructed through a pre-fabricated wood.

Community Tree Transforming simple design to something that is functional, adaptability and of great use would be considered innovation. Sometimes innovation isn’t tangible or obvious. Innovation may be seen in the process such putting clustered things in order. Like the Recursion, its repetitive process however through scripting it provides looping items and procedures in developing and improving architectural design for a desired outcome in response to a purpose.

Functionality, adaptability and sustainability of the design are to be emphasized of this proposal. Purposively the design will evoke for interaction, education while doing some relaxation among families, children and visitors. It would also adapt to kind of activities the Collingwood Children’s Farm are mounting all-year round, and at the same time, it should be safer and easy to maintain and manage by the Collingwood Children’s Farm staff.

For the initial set up, it could be a temporary structure that can easily assemble and dismantle, provision for replication as the farm could possibly accommodate several sets of this temporary architectural structure.

The evolution of design emerged on the idea of blending the structure with its surrounding atmosphere. The main form “Double C” stands for ‘Collingwood Children’s’ for it is dedicated towards the community of Collingwood and it’s future generation. It is meant to entice and trigger creativity to those it caters.

LEARNING OBJECTIVES AND OUTCOMES

Learning Objectives & Outcomes Architectural design requires combination of creativity, collaboration and technology. There are many architectural strategies, applications and models available which we can lure from. Experimentation and exploration of accomplishing things or projects made us to discover new learnings, new methods and new patterns. In this case, my learning objectives for the Studio are to maximize the potential of technologies, to look for representations or models for cross-reference, and to be able to develop my own outputs or repertoire through the knowledge and skills gained from this exploration. The exercises or case studies I did on Recursion gave me a clear understanding of how computational geometry, parametric modelling and algorithms can help develop digital fabrication or design-space using iterations of generated codes with looping items and procedures for a purpose. Although I find the Grasshopper and Rhino simple and easy, still there are some items that are difficult to manipulate in order to arrive at desired effects or designs. However, through the use of plug-ins like Anemone and Hoopsnake made it possible to do some pinches.

In terms of application, Rhino as a 3-D modeling tool provides a better perspective of design, and Recursive growth can be an alternative to address cluster commands and plug-ins. The greatness of Stuttgart Airport as an architectural archetypal affected my knowledge of architecture as well as the roles of computation in the design process such as consideration of structural elements, the design orientation, building height and depth, the links and connections of areas, visual effect, aesthetic value and functionality.

In my experience as a new user of Grasshopper and Rhino, it needs more practice and experiment to get acquainted with what the applications could offer more, and to grasp the essentials and features of the Grasshopper and Rhino and their plug-ins in order to fully maximize their use for architectural design.

Collaboration and exchanging of ideas with the other users could also another option to develop the expertise.

ALGORITHMIC SKETCHES

ALGORITHMIC SKETCHES| 116

References

PART B: CRITERIA DESIGN IMAGES FIGS 1 ‘Recursive Grow’, The Very Many, (2008), <http://theverymany.com/exploration/08recursivegrowth/> [accessed April 25 2015] FIGS 4 ‘Recursive Aggregation’, We want to learn, (2014], <https:// wewanttolearn.files.wordpress.com/2014/11/01-recursiveaggregation-def.jpg> [accessed 28 April 2015] FIGS 5 ‘Stutggart Airport’, GMP-Arkitekten, (Date Unknown), <https://www.pinterest.com/ pin/234327986837675432/> [accessed 30 April 2015]

FOOTNOTES

[15] ‘ Anemone’ http://www.food4rhino.com/ project/anemone by Mateusz Zwierzycki, 2014 [16]‘Anemone for grasshopper’ http://www.designcoding.net/ anemone-for-grasshopper/, by Turgrul Yazar, Feb. 16, 2014

Research Field [1] ‘Recursion’ Weisstein, Eric W. Recursion. From MathWorld—A Wolfram Web Resource: http://mathworld. wolfram.com/Recursion.html, (Last updated: April 2015)

[17-21] Collingwood Children’s Farm’, Tom, www.farm.org.au, Year Unknown’

[2] ‘ Drostre Effect’ http://en.wikipedia.org/wiki/ Droste_effect, modified last 10 April 2015.

[3] ‘Computability_theory’ Wikipedia, http://en.wikipedia. org/wiki/Computability_theory), last modified 21 April 2015 [4] ‘Computability theory‘Wikipedia, http://en.wikipedia. org/wiki/Computability_theory), last modified 21 April 2015 [5] ‘Recursive Effect ‘ ,the very many , theverymany.com/ exploration/08-recursivegrowth/), February 2008.

[6] ‘Recursive Effect’ marc-fornes ,(vagueterrain. net/journal14/marc-fornes/01), 31 July 2009 [7] ‘ Recurssive Effect’ marc-fornes, vagueterrain. net/journal14/marc-fornes/01) 31 July 2009 [8] ‘Recursive growth’ Ds 10, Fabrication, Grasshopper, , Diana Raican, https://wewanttolearn.wordpress.com/2014/11/13/ recursive-growth-through-aggregation) , November 13, 2014.

[9-12] Stuttgart Airport, GMP- Arkitekten, http: gmp-architekten.com/projects/ Stuttgart-airport-terminal-3.html, 2015 [13] ‘L-system’, Michael Hansmeyer, http://www. michael-hansmeyer.com/flash/l-systems.html, 2003 [14] ‘L-system’, Michael Hansmeyer, http://michaelhansmeyer.com/projects/projects.html, 2014,

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PART C Project Proposal

INTRODUCTION The course including the final presentation in front of tutors and guest jury was challenging and helped to raise the bar of my creativity and innovation. I had made significant changes to my proposal and conceptual idea that was anchored with my overall design concept.

Developing and testing the prototypes in order to move the project to completion was essential. However, failure was also a concern in the process of development but it shouldnâ&#x20AC;&#x2122;t be a barrier for progress. The design concept was worth doing and fulfilling when you reaped the fruits of your workmanship. I also ventured into curve elements rather than using straight components of design. The initial 2D design concept then evolved into 3-Dimensional design will be elaborated further in this Part C.

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DESIGN CONCEPT C.1

What lies beneath the surface The Collingwood Children’s Farm, which is

the identified location of my design concept envisioned to provide farm experience and a close encounter with nature and animals in an urban setting. The actual visit I conducted and my personal interactions with the staff and the guests of the farm provided me insights on how I could fully maximise the spaces without losing the farm’s unique identity. The design concept in conformity with the vision and mission of the structure aimed at strengthening its branding and visibility. The structure of the design concept is also purposively semi-permanent as I discussed earlier in Part B. It could be easily replicated and fabricated multiple times so it could be transferred within the premise of the farm where the activities would be held.

Making it semi-permanent would also provide flexibility as it could change the positioning of the tree-like branches or columns which would emit connection with the mother-nature. The curvy structure which is also incorporated in the design would help in carrying out the formality of art side. This formality in a sense defies the straight forwardness of a design and displays it more as an abstract.

Through the use of algorithmic technique, parametric principles and computational design, I came up with a 3D representation for better look and appreciation. This has been enhanced by a symbolic shadow effect of “CCshaped” which stands for Collingwood Children, manifested in a circular-shaped counter tables and chairs. The CC-shaped that would give aesthetic value is also integrated with the functionality of the design and would serve as a substantive element. The environment, the representation of moments which attribute to the past, contemporary and future direction of the place, the structural production, the site itself and ultimately, the beneficiaries of the Collingwood Children’s Farm are the determinants behind this design proposal.

Let me reiterate that “everyone is an artist.”

Everyone has his own creativity instilled within himself, and that is something I want everyone to discover and further hone upon interacting with my design.

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Representation of Moments The “CC” design concept epitomizes moments of past, present and future. The Collingwood Farm, rich in history commemorates and celebrates the past. It recognises heritage and undertakes various farm activities. In the past, the structure of the farm was utterly different as there were more animals than fruit crops and vegetables. Eventually, at this present-day, the farm ventures into food growing for animals and human consumption, and becoming more commercialised with the sprouting of businesses around the vicinity. With the proposed design concept, it would envisage and support the present and future direction of the Collingwood Children’s Farm as well as its sustainability in catering to larger and wider markets. It would also envision in sustaining its trademark as a farm, as it progresses and changes with time.

[1] Children fascinated by the flowers of the tree

Through the “CC” design concept, it looks forward to bringing a significant change in the mindsets of local people living in the city interweaving with the beauty of nature and appreciation of architectural design. It also aims to imprint a symbolic element of the CC-shaped that would help in advocating farm’s products and services to as many communities as possible.

The Environment Nature-inspired design integrated with technology made this architectural project relevant and functional for its target users. The utilisation of the technique for the Collingwood Childrenâ&#x20AC;&#x2122;s Farm focused on the curved L-system. The design also embedded the tree-like branches that would provide a balance between art and nature including its usefulness that would respond and align to the flow of activities at the farm. The proposed design concept would also attract productive interactions among people, entice an atmosphere of relaxation, enhance relationships among families and inspire farm goers for creative works.

I also used a paradoxical design objective for the structure to make it standout by blending it with the presence of trees. In todayâ&#x20AC;&#x2122;s trend, I opt to be simple but elegant, enthused by the garden-fresh look to make it see-through and for everyone to conceive.

[2] Sunlight emmitance allows the tree to form shadows

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The Site A farm within a City, and the CC-design concept within the Collingwood Childrenâ&#x20AC;&#x2122;s Farm creates an ambience of retrospect of what the Farm is all about from generation to generation.

The spacious site offers organic farming and land care. The architectural expression and the natural atmosphere perpetuated by the existence of the new CC-design concept would highlight the site purpose in educating the visitors about the farm its importance, symbiosis and usefulness. I planned my design to be coherence with the events at the farm. The tree-like branches could also be altered in the way people including the farm staff would like to be transformed into something they could express their own artistic inclination.

[3] Interaction between humans and other creatures

The Structural Production The production of the structure for this design concept was explored and emanated to function better. The tree-shaped panels which would serve as columns and shades needed to be sturdy from wind blow. They are strongly clamped in order to provide support to tables and chairs. With regards to the materials, I want something that is simple and easy to assemble, easy for replication and relocation, weather-proof materials, minimal maintenance and provides flexibility and interchangeable design.

[4] A child enjoying nature and itâ&#x20AC;&#x2122;s beauty

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LEAST ALLOWABLE LENGTH DEVALUATION MOST ALLOWABLE LENGTH DEVALUATION LEAST ALLOWABLE DISTANCE

INITIAL BRANCH LENGTH > NEW BRAN LENGTH

RANDOM LENGTH

RANDOM DISTANCE

MOST ALLOWABLE DISTANCE LEAST ALLOWABLE ANGLE

RANDOM ANGLE

MOST ALLOWABLE ANGLE

TECHNIQUE DIAGRAM

NO. OF RECURSION INITIAL BRANCH

LOOP

BRANCH EVALUATION

BRANCH ENDPOINT

RESULTING BRANCH

PARAMETRES PIPING RADIUS

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SET OF POINTS

X PLANE CORNER OF BOX Y PLANE

FORMATION OF BOX

X PLANE CORNER OF BOX Y PLANE

BOX EXTRUSION TO CHOSEN PLANE

TECHNIQUE DIAGRAM

VORONOI

VORONOI EXTRUSION

VORONOI TOP COVER SOLIDIFY

VORONOI OFFSET

OFFSET EXTRUSION

VORONOI BOTTOM COVER

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DEVELOPMENT OF FORM STRUCTURE The site visitation and analysis of my identified location contributed to the development process before I started with the conceptualisation of my design concept. Planning is an integral part in which I had to come up with something that would rationalise, connect and be useful for my design concept as well as my outcome. In the development process, I also looked into the technique such as the tree-shaped brach that would evolve in relation to my identified site, the staff of the Collingwood Childrenâ&#x20AC;&#x2122;s Farm and the people it serves. Keeping in that mind, I also considered in the development process the fabrication of my design, the approach, the materials, the timeframe, how I could assemble the prototypes, the budget and possible risk and problems I might encountered in the development process. To address such concerns, I add to make outline, diagram, workflow, and make a to-do list that would help me in organising the nitty gritty of the development process.

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TECTONIC ELEMENTS

C.2

C.2. TECTONIC ELEMENTS AND PROTOTYPES The core construction element of my design progressed and eventually transformed from pre-fabricated marine plywood to PVC then finally, I settled to use steel in order to provide a solid tree-shaped foundation of my design model.

The prototype technique provided me an avenue to test my design and made significant adjustments, test again, refined and until I came up with my final detailed model. The first version of my prototype was a 2D version prototype using pre-fabricated marine plywood. It was followed by generative experimentation through the use of computational design such as hoopsnake, and resulted to a newer 3D version. The process enabled to capture complex or complicated system yet created a more likely real model. The essential consideration of this change is the safety on the core construction element.

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PROTOTYPE 1

Prototype 1, is check when it comes to simple and easy to duplicate joints, but it fails when screened for its stability and strength capacity.

The connection is economical as it uses metal coupling, which can be modeled in a non complex manner or even purchased.

COUPLING

CAPPING

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PROTOTYPE 2 SCREW DOWEL

In prototype 2, I decided to make the coupling a dowel for its aesthetic nature- to maintain is smooth outercore. The dowel also stands as the connection of the main structure on which the screw will hold onto to make the branches sturdy. This kind of formwork allows for easy assemble of components and is economical to produce.

Meanwhile for its weathering protection, capping is placed on top of the last branches, so that water will not penetrate through it and the steel profile is painted with primer coating, then with primer paint and 2 more coatings on top to avoid corrosion when exposed to nature.

DOWEL SCREW

CAPPING

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PROTOTYPE 3

Prototype 3 is the connection for the chair. The chair is made of wood panels and each panels is connected by bolt. The cover of the seat is made up of 16 MM acrylic plastic screwed over the upper edge of the chair

SCREW

16 MM ACRYLIC PLASTIC

BOLT

DETAIL OF PANEL

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PROTOTYPE 4

Prototype 4 was produced to be able to ensure the stability of the branches. The branches is inserted in a support that is bolted to the ground. This kind of system allows the design to be disassembled and transfered.

SLOT SUPPORT BOLT

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t h e

p r o j e

e c t

m o d e l FINAL MODEL | 144

S H A D O W S

The Shadow Effect The shadow effect brings life to my design concept. This shadow produces detail of shape and it provides an extraordinary image of design. It appears to be simple but it magnifies and draws attention to every curve and stroke of my design concept.

FINAL MODEL | 146

FINAL MODEL | 148

FINAL MODEL | 148

FINAL MODEL | 150

The final detail model integrated different components of design concept such as form, shape, space, uses and attributes among others. These elements are detailed in the final model that reflect the L-system, tree-shaped columns, 3D and shadow effect. These elements provide aesthetic value to the Collingwood Childrenâ&#x20AC;&#x2122;s Farm and create momentous landmark of the 2 circular CCs that represent the Collingwood Children. More so, the CC-shaped it not just a logo but a functional facility that would connect and could be used by the clients and stakeholders of the Collingwood Childrenâ&#x20AC;&#x2122;s Farm.

The final detail model integrated different components of design concept such as form, shape, space, uses and attributes among others.

These elements are detailed in the final model that reflect the L-system, tree-shaped columns, 3D and shadow effect. These elements provide aesthetic value to the Collingwood Childrenâ&#x20AC;&#x2122;s Farm and create momentous landmark of the 2 circular CCs that represent the Collingwood Children. More so, the CC-shaped it not just a logo but a functional facility that would connect and could be used by the clients and stakeholders of the Collingwood Childrenâ&#x20AC;&#x2122;s Farm.

“Ever yone is an ar tist .”

LEARNING OBJECTIVES AND OUTCOMES

CONCLUSION

The learning objectives and outcomes of this course was rewarding and fulfilling upon seeing the final and actual product of my design concept through the evolution of prototypes. The application of developing and generating a variety of designs through parametric modelling, algorithmic design and visual representation are both intensive and extensive in nature as this project was technology-driven. However, the people remain to be the drivers of the digital tools.

In a nutshell, Studio Air has opened many possibilities for my creativity and innovativeness as an Architecture student. It provided me opportunities to develop designs beyond my expectation. Although, I have experienced in using other modelling platforms and computer applications such as AutoCAD, Photoshop, Revit, Sketch Up and others, I would say that the introduction and application of Rhino and Grasshoppers and their plug-ins provided me another technique or style in developing design concept using algorithmic theory and computational design. This technique in the architectural realm has its own advantage and uses such as providing a wide range of alternatives using the generated codes to create, modify, explore and finalise design concept. Developing these skills further would entail practice and more experimentation to build confidence in using Rhino and Grasshoppers. These are digital tools available for execution, and in carrying out our ideas and imagination, but still the success of the design concept still lies in every individual or architect to make things possible.

The process I went through was also a good exercise and a breakthrough. It unleashed the potentials of using Rhino and Grasshopper in exploring, discovering and developing design concept.

Likewise, the learnings I gained from this course has engrained myself a better understanding of design computation, the evolution of design processes and how computing has engaged with them. The lectures, readings, architectural literatures, researches, documentation of critical aspects and interim presentations expanded my horizons and had aided me in thinking critically, in generating ideas and in rationalising decisions through a set of selection criteria.

Nowadays, there are a broad range of architectural applications and solutions. The latest and emerging technologies will definitely immerse in order to provide efficient, functional and cost effective architectural design that would respond to future developments and to the ever-changing needs of clients.

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References

PART C: PROJECT PROPOSAL IMAGES FIGS 1 ‘Carefree Childhood’, Firefly Photography, (19 June 2013), <http://www.whimsicalstorytelling.com/carefreechildhood-keene-nh-child-photographer-sparta-njchild-photographer/> [accessed April 25 2015] FIGS 2 ‘Carefree Childhood’, Firefly Photography, (19 June 2013), <http://www.whimsicalstorytelling.com/carefreechildhood-keene-nh-child-photographer-sparta-njchild-photographer/ [accessed 11 June 2015] FIGS 3 ‘SCarefree Childhood’, Firefly Photography, ( (19 June 2013), <http://www.whimsicalstorytelling.com/carefreechildhood-keene-nh-child-photographer-sparta-njchild-photographer/> [accessed 11 June 2015] FIGS 4 ‘Carefree Childhood’, Firefly Photography, (19 June 2013),<http://www.whimsicalstorytelling.com/carefreechildhood-keene-nh-child-photographer-sparta-njchild-photographer/> [accessed 11 June 2015]

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