Architecture Design Studio Air Journal (ABPL30048)

STUDIO AIR

JOURNAL

MELISSA CHONG / 864703

TUTOR : MATTHEW DWEYER

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INTRODUCTION Hello!

I am Melissa and I am second year architecture student from the University of Melbourne.

Since young, I have always loved the visual arts. It started when my mom gifted me a crayon set from Crayola. I was opened up to a whole new world, and my 5-year old self poured out all her emotion into drawing, on practically anything. It turned my mom’s life upside down as she watched her carefully selected furniture destroy one by one, in a matter of months. Nonetheless, seeing how my eyes dazzled each time I complete piece, she went to enrol me in weekly oil pastel classes which eventually led to painting lessons. I was seven and from there, painting has been a big part of my life.

Other than painting, I went on to explore fashion design and makeup. Delving into new areas of the visual arts is always very addictive, and now, I have decided to start my venture into architecture. Architecture sets itself apart from the rest as it involves space, giving me an infinite canvas. It reaches far beyond the human scale which challenges me to design spaces, in hopes of creating memorable experiences and an impact. I have always been into the tangible side of the visual arts, and have never really touched computational design.

Thus, under the guidance of my tutor, I hope that this studio immerses me in a new form of art where I get to develop my computer skills and explore new options to futuristic design.

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CONCEPTU

UALISATION

CONCEPTUALISATION A1 DESIGN FUTURING 10

CASE STUDY 1.0: THE NEW BABYLON 12

CASE STUDY 2.0: THE SILK PAVILION 16

A2 DESIGN COMPUTATION 20

CASE STUDY 3.0: FUKUOKA ISLAND CITY PARK 22

CASE STUDY 4.0: MONOCOQUE 2 28 A3

COMPOSITION / GENERATION CASE STUDY 5.0: ELBPHILHARMONIE CASE STUDY 6.0: ICD/ ITK RESEARCH PAVILION

32 34 40

CONCLUSION 44 A4 LEARNING OUTCOMES 46 A5 A6 REFERENCES 48

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A1 DESIGN FUTURING As a society, we undeniably have the creative

worrying to allow everyone to practice as a design-

minds, passion and resources. However, given

er on a superficial level. A possible repercussion

its capitalistic nature, the boundaries of design

is a proliferation of trivialised design, reduced to

becomes somewhat restrained and resources

serve only aesthetical purposes. What the world

are allocated to less pressing needs. These two

needs at the moment is a pluralism in ideology

consequences inhibit our world from developing at

and critical design, one that challenges narrow

a desirable rate, showing signs of social unsus-

assumptions and the status quo.3

tainability. With design being at the front line of change, one way to solve this is to re-orientate

Other than the boundaries of design, design also

our direction of design , using design to better the

raises the issue of ‘diabetic sustainment’.4 This is

world for everyone.

where we bring in something new, at the expense

1

of destroying something else. For instance, our To bring about this change, there should be a cor-

profit-maximising intuition often prompts us to

rect balance between the exclusiveness of design

engage in design that caters to those who are

professionalization and the deregulated pluraliza-

better off. In the process, the one in need suffers

tion of design activity. To some extent, the design

for the sake of survival. If we continue to head

responsibilty should not be solely given to a group

down this route, this inequality gap would widen

of professionals. It prevents the flow of new ideas

and become detrimental to our sustainability, as a

from coming in. But at the same time, it is also

whole.

2

Tony Fry, Design Futuring: Sustainability, Ethics and New Practice(Oxford Berg). Accessed on 2 March 2018 Anthony Dunne& Fiona Raby, Specualtuve Everything: Design Fiction and Social Dreaming (Cambridge,MA: MIT Press,2013) Accessed on 2 March 2018

1,2 &4 3

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CASE STUDY 1.0 Project : The New Babylon Architect : Constant Nieuwenhuys Date : 1959-74

The first project that I have decided to look into is the New Babylon by Constant Nieuwenhuys. The New Babylon proposes a revolting idea of an alternative life, one that is freed from the strains of a metropolitan. Presented in a series of sketches and models, it depicts an imaginary anti-capitalistic city, revolving around the ‘homo ludens’. Taking reference from Johan Huizinga, ‘homo ludens’ are described as ‘man at play’ , ones who are

city is works. The city does not revolve around the autonomy of a single building or on the interrelation of individuals in a social matrix of extreme functionalism, but instead is created by the activities of life. This liberation from suffering and the ability to exercise personal creativity makes life far more enjoyable and worth living, thus deeming it as sustainable.

liberated from any form of labour and responsibilities.5

However, after some thought, his idea presents a few flaws

His idea has continuously exerted heavy influence in the realm

we face today. Mirroring the New Babylon, globalization has

or architecture and urbansim. It provides a food for thought for many architects, especially on their own design goals. It has also stimulated discussion on its possible reality and the morals that go with it. Many welcome the idea, basing it off on how the

5 6

which I believe could be counter-effective to the problems encouraged people to move more freely from country to country, in search for better opportunities. Argurably, this constant migration could prevent a person from feeling a strong sense of belonging and connection to his or her origins. In addition,

Mark Wigley, The Hyper- Architecture of Desire. https://monoskop.org/images/c/c1/Wigley_Mark_Constants_New_Babylon_The_Hyper-Architecture_of_Desire.pdf. Accessed on 5 March 2018.

Anthony Dunne& Fiona Raby, Specualtuve Everything: Design Fiction and Social Dreaming (Cambridge,MA: MIT Press,2013) Accessed on 2 March 2018

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the lack of civic, social and family responsibilities that Nieuwenhuys proposes could also be catastrophic . Without any of these responsibilities, one would not need to experience hardships. Often or so, it is only through struggles where one heavily depends on friends and family for support, which inevitably tightens that relationship. Thus, this atomised society 6 that Nieunwenhuys creates could be counter-effective in ensuring the social sustainability of our world.

The New Babylon, 1959-74 https://www.macba.cat/en/new-babylon-3207

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The New Babylon, 1959-74 https://lebbeuswoods.wordpress.com/2009/10/19/constant-vision/

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CASE STUDY 2.0 Project : The Silk Pavilion Architect : MIT Media Lab Date : 2013

Another project that I have decided to look into is the Silk Pavilion by the MIT Media Lab. Created by a swarm of machine-like silkworms, it explores the possible relationship between digital and biological fabrication. 7 By understanding how silkworms build their cocoons, scientists could further develop the existing additive 3D manufacturing techniques, bringing digital fabrication to a whole new level.

This project could also kickstart the use of 3D printing in our building materials, allowing us to slowly steer away from the use of non-renewable resources, proving to be a huge step towards our sustainability goals. The use of technology may also eliminate the unfavourable industries that rob away the life of those who are less well off, reducing the persisting inequality gap. However, this supposed ‘ethical’ choice we make, could be deemed ‘unethical’ as well. Despite being the silkworm’s inate daily routine, it is arguable that we as human beings have used their capabilities to satisfy our own selfish needs. They have succumbed to the role of the new ‘guinea pig’ without consensus, which is not in line with the principles we had initially .

Eventually, this venture into biological fabrication could result in a shift in victims of ‘dialetic sustainment’. 8

7 8

2018 MIT Media Lab, Mediated Matter. http://matter.media.mit.edu/environments/details/silk-pavillion. Accessed on 5 March 2018 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice(Oxford Berg) Accessed on 2 March 2018

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The Silk Pavilion, 1959-74 http://matter.media.mit.edu/environments/details/silk-pavillion#prettyPhoto[imgs]/3/

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The Silk Pavilion, 1959-74 http://matter.media.mit.edu/environments/details/silk-pavillion#prettyPhoto[imgs]/3/

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Monocoque 2, 2007 http://www.materialecology.com/projects/details/monocoque-2

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A2 DESIGN COMPUTATION Design is a process where we initiate changes to

technology has also fostered a symbiotic relation-

our current situation so as to achieve the desired

ship between form finding and developing tech-

outcome. With the increasing complexities we

nologies12. Unfortunately, there is a slim chance

face, the need for critical design becomes all the

for all of these brilliant ideas to come from a single

more important. These designs must not only

person. It requires the collaborative effort of indi-

challenge the status quo, but also allow us to

viduals from different fields, bringing in different

thrive comfortably and sustain the human race.

expertise. Thus, in the building industry, there has

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a been a paradigm shift in the design process.

Beyond representational purposes, today, more

Computers and technology have provided a new

architects have decided to produce architecture

platform for these trades to communicate and

through the writing of algorithms. It allows a digital

involve themselves in the architectural design of

continuum from design to production, which could

the structure. For instance, environmental factors

be referred to as the ‘Vitruvian effect’. Through the

could be inputed digitally, narrowing down the

many softwares, the design process is quickened

design solutions achieved previously. Subsequent-

and made more effective. It allows multiple vari-

ly, these designs are further reduced by satisfying

ations of a solution to be generated, by changing

the intrinsic constraints and an evaluation process

the parameters.

that involves rational measurement and asses-

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ment, carried out by the client and the architect. 13

Other than producing inherent mutations , 11

9&13 10-12

Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press) Accessed on 9 March Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture, (London; New York: Routledge, 2014) Accessed on 9 March

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The Island City Park (Grin Grin Park), 2004-05 https://www.area-arch.it/en/grin-grin/

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CASE STUDY 3.0 Project : Fukuoka Island City Central Park (Grin Grin Park) Architect : Toyo Ito Date : 2004-05

Located on the eastern-side of Hakata Bay, the Fukuoka Island

that allows park users to weave through the exteriors and the

City Central Park is a 190m long structure that rests on stark-

interiors seamlessly, further redefining the boundaries of a park

flat reclaimed land. Through this project, he embraces the irreg-

and a building. This fluid-like 3D multi-dimensional pathway he

ular qualities of nature, seamlessly incorporating the surround-

prescribes, prompts users to walk through the building, enter

ing topography to his structure. With the help of algorithms,

it, see through it and even climb it. It erases the distinction

he creates gentle spatial spirals, in hopes of bringing people

between the ground and the roof, which enhances the spatial

together, allowing them to relax under the shade provided by

experience , allowing individuals to get a little ‘breather’ from the

portions of the cantilevered dome. 14

dense city.

Toyo Ito has successfully created this permeable structure,

14

Toyo Ito: Grin Grin Park. My Architecture Moleskin. http://architecturalmoleskine.blogspot.com.au/2013/03/toyo-ito-grin-grin-park-fukuoka.html Accessed on 9 March

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The Island City Park (Grin Grin Park), 2004-05 http://www.ad.ntust.edu.tw/grad/think/98_2_tectonics_culture/98_2_Digital_Tectonics_Toyo_Ito/1-3.htm

The Island City Park (Grin Grin Park), 2004-05 http://www.ad.ntust.edu.tw/grad/think/98_2_tectonics_culture/98_2_Digital_Tectonics_Toyo_Ito/ppt10.jpg

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The Island City Park (Grin Grin Park), 2004-05 http://architecturalmoleskine.blogspot.com.au/2013/03/toyo-ito-grin-grin-park-fukuoka.html

The Fukuoka Island City Central Park presents an organic fusion of 3 shell curved forms, a clear indication of computation and computerization. Initially, a form was chosen, and with the help of parametric modelling, a multitude of variations were created. Subsequently, they were subjected to a series of repeated simulations that involve the load of torsion, energy of tension and distortion so as study the structural behaviour of the roof.15 Aligned with Migayrou’s theory16, a structurally optimal roof structure from the multiple variations was obtained. In this case, performance analysis played a vital role in determining the shape of the building. With Japan being very prone to earthquakes and with the structure resting on reclaimed land, the structure must be able to respond to the following movements and stay sturdy.

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Toyo Ito and Associates, Change the Geometry to Change the Architecture. http://papers.cumincad.org/data/works/att/caadria2006_007.content.pdf. Accessed on 9 March Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture, (London; New York: Routledge, 2014) Accessed on 9 March

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The Island City Park (Grin Grin Park), 2004-05 http://openbuildings.com/buildings/island-city-central-park-grin-grin-profile-2817

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CASE STUDY 4.0 Project : Monocoque 2 Architect : Neri Oxman Date : 2007

In architecture, there is usually a stark difference between

Aptly named ‘monocoque’, it uses the voronoi pattern resulting

structural walls and external walls. Structural walls transfer the

in a ‘net-like’ appearance. Its vein-like characteristics could also

dead, live and wind loads to the foundation so as to maintain

be identified with the hypothetical loading paths generated

the structural integrity of the building. On the other hand, the ex-

when a simulation was added.18 The use of algorithms also

ternal walls provide a facade and an envelope that protects the

influences the thickness and material distribution, reflecting the

interiors from accelerated weathering. Clearly influenced by the

possible loading conditions. This advancement in computation-

Vitruvian effect, here, Neri Oxman explored and subsequent-

al architecture has not only brought a new wave in architecture

ly challenged the notions of the traditional wall structure. He

but has also prompted designers to seek new alternatives to the

developed a new construction technique that uses a single shell

conventional building materials available in the market. These

which functions compositely, carrying out the responsibilities of

new discoveries could potentially increase the quality, reduce

both the structural and external walls.

labour cost and time, making way to sustainability.

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17 18

Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press) Accessed on 9 March.

Neri Oxman. Monocoque 2. http://www.materialecology.com/projects/details/monocoque-2. Accessed on 9 March.

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Monocoque 2, 2007 http://www.materialecology.com/projects/details/monocoque-2

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A3 COMPOSITION / GENERATION In conjunction to the chapter on Design Computa-

element placements and configurations, it also

tion, this section would go deeper into the topics

allows us to find new ways to further develop our

of algorithmic thinking, parametric modelling and

spaces and concepts.

scripting cultures, and how architectural practices react to this shift from composition to generation.

Computation has also allowed architects to ‘simulate’ the building performance more accu-

With the emergence of computers, the design

rately. It provides them an in-depth performance

realm has changed rapidly. It started with comput-

analysis, taking into account the characteristics of

erisation, where architects used computers as the

tectonics, available materials and machinery. This

main drafting board. Compared to hand-drawings,

pertains to both its architectural form and most

this method was proven to be more efficient as it

importantly, spatial experiences, which is not easy

ensured precision, and made it easier for archi-

to tackle and simulate. However, regardless of

tects to make changes. Today, the new scripting

the results generated, designers must constantly

culture has brought in a new wave, computation.

test their ideas in practice through building, and

Sean Ahlqvist and Achim Menges describes

not resort to the ‘lone gun’ mentality as described

computation as the ‘processing of information and

by Hugh Whitehead. This ‘lone gun’ mentality is

interactions between elements which constitute

defined as being too caught up with computation-

a specific environment; it provides a framework

al skills, that it unknowingly causes one to deviate

for negotiating and influencing the interrelation

from the real design objectives, therefore, degener-

of datasets of information, with the capacity to

ating scripting to an isolated craft.21

generate complex order, form and structure.’ 19 It follows an algorithm, which is a recipe made of a

Thus, as a population, we need to constantly test

finite set of rules that are ambiguous but simple to

our ideas and develop our designs into an integrat-

follow.

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They generate and capture a multitude

ed art form that improves the quality of our lives,

of parameters in the form of parametric models,

bringing us one step towards our sustainability

which helps us explore new design options and

goals.

speculate on its potential. Through modifying

Brady Peters, Computational Works: The Building of Algorithmic Thought’ , Architectural Design (John Wiley and Sons Ltd,.2013). Accessed on 16 March Robert Wilson & Frank Keil, Definition of ‘Algorithm’ The MIT Encycolpedia of the Cognitive Sciences (London: MIT Press,1999) Accessed on 16 March

19&21 20

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Elbphilharmonie, 2017 https://www.ingenieur.de/technik/fachbereiche/gebaeudetechnik/elbphilharmonie-unglaubliche-akustik-groessten-orgeln-welt/

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Elbphilharmonie, 2017 https://www.archdaily.com/802093/elbphilharmonie-hamburg-herzog-and-de-meuron/585bef4fe58ece389500015e-elbphilharmonie-hamburg-herzog-and-de-meuron-photo

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CASE STUDY 5.0 Project : Elbphilharmonie Architect : Herzog & de Meuron Date : 2017

Having gone through a huge architectural reformation, Elbphilharmonie is a significant landmark in Hamburg that displays a harmonious coexistance of architectural styles from two different eras.

Initially, it was an old warehouse that exuded a very original and archaic feel with its red brick cladding. Over the years, its robust structure remained sturdy, providing an ideal foundation for a futuristic structure to be added on top of it. Today, whilst still retaining its roots, it has transformed into a complex that accommodates a philharmonic hall, a chamber music hall, restaurants, apartment and a hotel. 22

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Elbphilharmonie Hamburg/ Herzog &de Meuron.Arch Daily. https://www.archdaily.com/802093/elbphilharmonie-hamburg-herzog-and-de-meuron. Accessed on 15 March

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Elbphilharmonie, 2017 https://www.ingenieur.de/technik/fachbereiche/gebaeudetechnik/elbphilharmonie-unglaubliche-akustik-groessten-orgeln-welt/

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Elbphilharmonie, 2017 https://www.zmescience.com/other/design-other/computer-algorithm-designed-hamburgs-new-concert-hall-simply-amazing/

The philharmonic hall, located at the heart of then complex, is

modelling, one can create multiple individual designs to the

a clear result of parametric modeling. Resembling a Greek am-

same precision that may not be achieved as successfully if it

phitheatre, the hall is a built from 10,000 distinct gypsum fiber

was carried out manually.

acoustic panels that lines the ceiling, walls and ballustrates.

Together, it is made of one million ‘cells’ ranging from 4 to 16

Despite being able to simulate the performance of the material

cm across. By using algorithms and changing the parameters,

digitally, Toyota, built a 1/10 scale model of the interior to con-

each cell is designed and calculated in such a way it either

duct further acoustical experiments. This is to ensure that it is

absorbs, reflects or diffuses the sound waves. No two panels

able to function optimally, giving users an acoustic experience

are identical but with its effects combined, creates a balanced

worthy of the performers. 3D modelling was also employed

reverbation across the auditorium. Smaller and shallower

to determine where the placements of the joints in the panels

holes are located in the ceiling and deeper and wider cells are

of this material. This prevents scripting from being an isolated

positioned at the back of the hall. Benjamin Koren describes the

craft, but instead turns it into an intergrated art form that con-

project as being “insane to do this by hand”,24 highlighting one

tributes to society. 25

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of the key benefits of parametric modelling. With parametric

23 Tibi Puiu. A computer algorithm designed Hamburg’s new concert hall is simply amazing. https://www.zmescience.com/other/design-other/computer-algorithm-designed-hamburgs-new-concert-hall-simply-amazing/. Accessed on 15 March 24 Elizabeth Stinson. WHAT HAPPENS WHEN ALGORITHMS DESIGN A CONCERT HALL? THE STUNNING ELBPHILHARMONIE. https://www.wired.com/2017/01/happens-algorithms-design-concert-hall-stunning-elbphilharmonie/. Accessed on 15 March 25 Brady Peters, Computational Works: The Building of Algorithmic Thought’ , Architectural Design (John Wiley and Sons Ltd,.2013). Accessed on 16 March

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Elbphilharmonie, 2017 https://www.zmescience.com/other/design-other/computer-algorithm-designed-hamburgs-new-concert-hall-simply-amazing/

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ICD/TKE Research Pavillion 2011 https://www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/5004e8d628ba0d4e8d000ddf-icditke-research-pavilion-icd-itke-university-of-stuttgart-drawing-02

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ICD/TKE Research Pavillion 2011 https://www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/5004e8d628ba0d4e8d000ddf-icditke-research-pavilion-icd-itke-university-of-stuttgart-drawing-02

CASE STUDY 6.0 Project : ICD / TKE Research Pavilion Architect : ICD: Prof. A. Menges, L.Vasey, M. Yablonina ITKE: Prof. J. Knippers, A. Mader, E. Slab

binck Date : 2011

Another structure that has displayed parametric modelling is the ICD/ITKE Research Pavilion 2011. This project uses biological principles derived from the skeletal shell of the sand dollar to study and improve the structural capacity of architectural design. 26

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ICD/TKE Research Pavillion 2011. University of Stuttgart. http://icd.uni-stuttgart.de/?p=6553. Accessed on 15 March

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The sand dollar has a rigid skeleton that consists of calcium carbonate modular plates arranged in a fivefold radial pattern.

Its edges are fastened by calcite protrusions and organic fibres, mimicking the traditional finger-joints used in carpentry. This distinct geometrical arrangement and connections system allows it to withstand high load bearing conditions which may be useful for developing the structural capacity of our buildings.27 In addition, the way the three plate edges meet at one point enables shear forces to be transferred effectively, resulting in a structure capable of responding to high stress. With these ideas in mind, computation was employed to see how it could be incorporated in architectural design.

All the images from this page : ICD/TKE Research Pavillion 2011 https://www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/5004e8d628ba0d4e8d000ddf-icditke-research-pavilion-icd-itke-university-of-stuttgart-drawing-02

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ICD/TKE Research Pavillion 2011 https://www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/5004e8d628ba0d4e8d000ddf-icditke-research-pavilion-icd-itke-university-of-stuttgart-drawing-02

Algorithm-thinking and parametric modelling is heavily involved in this project especially during the form finding and structural design stage. Through the changing of parameters, a heterogeneity in the cell sizes was achieved, allowing the designers to create curvatures and discontinuities within the form. In addition, computation made it possible to read the complex geometry so as to analyse the critical points in the model. 28 With this information, designers were able to improve their designs according to the predicted mechanical stresses. The connections, in the form of glued and bolted joints were also tested experimentally to derive structural calculations and an optimised structural form.

27&28

ICD/TKE Research Pavillion 2011. University of Stuttgart. http://icd.uni-stuttgart.de/?p=6553 Accessed on 15 March

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Elbphilharmonie, 2017 http://www.archithese.ch/files/archithese/Blog/2016/2016.10/Elbphilharmonie/white_skin_c_maxim_schulz_frei_fuer_dritte.jpg

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CONCLUSION With the increasingly complex circumstances mankind are put

spite these perks, designers must continuously test their ideas

in, designers must be more critical with their design decisions,

through building them to ensure that it is in line with the real

ensuring that they challenge the status quo to sustain both the

design objectives, making sure that it becomes an integrated

human race and the members of our ecosystem. Computa-

art from which contributes to the community.

tion has brought in an alternative solution to this problem by lending us hand in the process of ‘form-finding’ to production.

Using grasshopper to model parametrically, this studio aims

It has prompted us to work even more closely with the several

to propose a tram stop that supports insect biodiversity in the

trades during the design phase, allowing us to create forms that

dense city. By engaging in the process of computation, a myraid

combat unfavourable structural and environmental conditions.

of different outcomes could be achieved , allowing us to define

Being able to simulate our chosen environment also helps us

spaces on the street more effeciently whilst still providing a

understand how our structures respond to them, giving us

desirable habitat overhead to maintain our ecology.

direction as to how we could improve our design. However, de-

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LEARNING OUTCOMES Through the past three weeks, the lectures and studios had opened me up to a whole new realm of design. Initially, my understanding of computation was merely connecting a set of prescribed functions to create a standard predicted form, in hopes of not leading to an error, and having to painstakingly start all over again. However, under the guidance of my tutor and after reading more about it, I have began to understand the difference between computation and computerisation, and how parametric modelling could create a multitude of unpredicted forms that may not be achieved by hand-drawings. With this new retrospective, I am excited to see how I could use this in the future projects that encourages flexible forms whilst still responsive to the environment.

Elbphilharmonie, 2017 https://www.artsy.net/artwork/candida-hofer-elbphilharmonie-hamburg-herzog-and-de-meuron-hamburg-iv-2016

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Text 1,2 &4

Tony Fry, Design Futuring: Sustainability, Ethics and New Practice(Oxford Berg). Accessed on 2 March 2018

Anthony Dunne& Fiona Raby, Specualtuve Everything: Design Fiction and Social Dreaming (Cambridge,MA: MIT Press,2013) Accessed

3

on 2 March 2018 5

Mark Wigley, The Hyper- Architecture of Desire. https://monoskop.org/images/c/c1/Wigley_Mark_Constants_New_Babylon_The_Hy-

per-Architecture_of_Desire.pdf. Accessed on 5 March 2018.

7

2018 MIT Media Lab, Mediated Matter. http://matter.media.mit.edu/environments/details/silk-pavillion. Accessed on 5 March 2018

8

Tony Fry, Design Futuring: Sustainability, Ethics and New Practice(Oxford Berg) Accessed on 2 March 2018

9&13

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

MIT Press) Accessed on 9 March 10-12

Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture, (London; New York: Routledge, 2014) Accessed on 9 March

Toyo Ito: Grin Grin Park. My Architecture Moleskin. http://architecturalmoleskine.blogspot.com.au/2013/03/toyo-ito-grin-grin-park-fu-

14

kuoka.html Accessed on 9 March 15

Toyo Ito and Associates, Change the Geometry to Change the Architecture. http://papers.cumincad.org/data/works/att/

caadria2006_007.content.pdf. Accessed on 9 March 16

Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture, (London; New York: Routledge, 2014) Accessed on 9 March

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

17

Press) Accessed on 9 March.

18

Neri Oxman. Monocoque 2. http://www.materialecology.com/projects/details/monocoque-2. Accessed on 9 March.

19&21

Brady Peters, Computational Works: The Building of Algorithmic Thought’ , Architectural Design (John Wiley and Sons Ltd,.2013).

Accessed on 16 March 20

Robert Wilson & Frank Keil, Definition of ‘Algorithm’ The MIT Encycolpedia of the Cognitive Sciences (London: MIT Press,1999) Ac-

cessed on 16 March Elbphilharmonie Hamburg/ Herzog &de Meuron.Arch Daily. https://www.archdaily.com/802093/elbphilharmonie-hamburg-her-

22

zog-and-de-meuron. Accessed on 15 March 23

Tibi Puiu. A computer algorithm designed Hamburg’s new concert hall is simply amazing. https://www.zmescience.com/other/de-

sign-other/computer-algorithm-designed-hamburgs-new-concert-hall-simply-amazing/. Accessed on 15 March 24

Elizabeth Stinson. WHAT HAPPENS WHEN ALGORITHMS DESIGN A CONCERT HALL? THE STUNNING ELBPHILHARMONIE. https://

www.wired.com/2017/01/happens-algorithms-design-concert-hall-stunning-elbphilharmonie/. Accessed on 15 March 25

Brady Peters, Computational Works: The Building of Algorithmic Thought’ , Architectural Design (John Wiley and Sons Ltd,.2013).

Accessed on 16 March 26

ICD/TKE Research Pavillion 2011. University of Stuttgart. http://icd.uni-stuttgart.de/?p=6553. Accessed on 15 March

27&28

ICD/TKE Research Pavillion 2011. University of Stuttgart. http://icd.uni-stuttgart.de/?p=6553 Accessed on 15 March

48

A7 REFERENCES Images The New Babylon, 1959-74, https://www.macba.cat/en/new-babylon-3207 The New Babylon, 1959-74, https://lebbeuswoods.wordpress.com/2009/10/19/constant-vision/ The Silk Pavilion, 1959-74, http://matter.media.mit.edu/environments/details/silk-pavillion#prettyPhoto[imgs]/3/ The Silk Pavilion, 1959-74, http://matter.media.mit.edu/environments/details/silk-pavillion#prettyPhoto[imgs]/3/ Monocoque 2, 2007, http://www.materialecology.com/projects/details/monocoque-2 The Island City Park (Grin Grin Park), 2004-05, https://www.area-arch.it/en/grin-grin/ The Island City Park (Grin Grin Park), 2004-05, http://www.ad.ntust.edu.tw/grad/think/98_2_tectonics_culture/98_2_Digital_Tectonics_Toyo_Ito/1-3.htm The Island City Park (Grin Grin Park), 2004-05, http://www.ad.ntust.edu.tw/grad/think/98_2_tectonics_culture/98_2_Digital_Tectonics_Toyo_Ito/ppt10.jpg The Island City Park (Grin Grin Park), 2004-05, http://architecturalmoleskine.blogspot.com.au/2013/03/toyo-ito-grin-grin-park-fukuoka. html The Island City Park (Grin Grin Park), 2004-05, http://openbuildings.com/buildings/island-city-central-park-grin-grin-profile-2817 Monocoque 2, 2007, http://www.materialecology.com/projects/details/monocoque-2 Elbphilharmonie, 2017, https://www.ingenieur.de/technik/fachbereiche/gebaeudetechnik/elbphilharmonie-unglaubliche-akustik-groessten-orgeln-welt/ Elbphilharmonie, 2017, https://www.archdaily.com/802093/elbphilharmonie-hamburg-herzog-and-de-meuron/585bef4fe58ece389500015e-elbphilharmonie-hamburg-herzog-and-de-meuron-photo Elbphilharmonie, 2017, https://www.ingenieur.de/technik/fachbereiche/gebaeudetechnik/elbphilharmonie-unglaubliche-akustik-groessten-orgeln-welt/ Elbphilharmonie, 2017, https://www.zmescience.com/other/design-other/computer-algorithm-designed-hamburgs-new-concert-hall-simply-amazing/ Elbphilharmonie, 2017, https://www.zmescience.com/other/design-other/computer-algorithm-designed-hamburgs-new-concert-hall-simply-amazing/ ICD/TKE Research Pavillion 2011, https://www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/5004e8d628ba0d4e8d000ddf-icditke-research-pavilion-icd-itke-university-of-stuttgart-drawing-02 ICD/TKE Research Pavillion 2011, https://www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/5004e8d628ba0d4e8d000ddf-icditke-research-pavilion-icd-itke-university-of-stuttgart-drawing-02 ICD/TKE Research Pavillion 2011, https://www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/5004e8d628ba0d4e8d000ddf-icditke-research-pavilion-icd-itke-university-of-stuttgart-drawing-02 ICD/TKE Research Pavillion 2011, https://www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/5004e8d628ba0d4e8d000ddf-icditke-research-pavilion-icd-itke-university-of-stuttgartElbphilharmonie, 2017, http://www.archithese.ch/files/archithese/Blog/2016/2016.10/Elbphilharmonie/white_skin_c_maxim_schulz_ frei_fuer_dritte.jpg drawing-02

49

CRITERIA

A DESIGN

CONTENTS

B1 RESEARCH FIELD

PATTERNING

54 56

PRECEDENT

58

B2

62

CASE STUDY 1.0: DE YOUNG MUSEUM

ITERATIONS

68

SUCCESSFUL ITERATIONS

74

B3

CASE STUDY 2.0: LOUVRE MUESEUM

76

REVERSE ENGINEERING SEQUENCE

80

OUTCOME

84

B4

TECHNIQUE DEVELOPMENT

86

INITIAL RESPONSE TO BRIEF

90 94

ITERATIONS

106 SUCCESSFUL ITERATIONS B5

TECHNIQUES : PROTOTYPES

110

B6

TECHNIQUE : SITE AND PROPOSAL

126

CONCEPT DIAGRAMS

132 136

PLAN

WEST ELEVATION

138

PERSPECTIVE

140

B7

LEARNING OUTCOMES

B9 REFERENCES

52

142 148

53

4

54

B1 RESEARCH FIELD

5

55

B1 PATTERNING

Recently, sustainability has been a strong driving force for the

These physiological and behavioural outcomes prompts the

design and architecture we see today. But how exactly should

recipient to respond accordingly, which sets the tone of the

we define sustainability? The many notions to sustainability re-

relationship. For instance, as part of a masters social research

late to how we actively prevent the depletion of natural resourc-

project, strong black and white striped wallpaper was added

es to maintain an ecological balance. However, does it merely

to the marketing services department. Through the record-

pertain environmental concerns?

ings from the surveillance cameras, it was concluded that 24 percent of the users exhibited avoidance behaviours. This refers

Ornamentation, especially patterns, are often disregarded as a

to down-cast eyes, ‘tightness’ in motion, fidgeting, all of which

form of architecture. They convey ideals not explicit in expres-

are signs of anxiety. With this tense atmosphere, subjects were

sions of function or utility. Nonetheless, after conducting further

21 percent less likely to engage with others in conversation and

research, I have decided to argue for the less popular opinion,

more staff members began to avoid that area. 30Therefore, it

that ornamentation plays a strong role in architecture and could

shows that patterning plays a significant role in the way we with

indeed bring us a step closer to our sustainability goals.

one another.

With reference to Felix Guattari’s sustainability philosophy, sus-

Patterning could also affect our experiences. With powerful

tainability could be broken down into three main components,

physical, psychological and cultural associations, patterns stim-

subjective experiences, creating social relationships and per-

ulate our brain to develop a preliminary biased view. This sets

formance design.29 In the following paragraphs, I would explain

our mentality, which carries through and influences the entire

how patterning in architecture could address these criteria.

experience. For instance, as we look around a dental office covered with dated texture vinyl, vaguely reminiscent of the burlap

Patterning could affect social relationships. Likened to a

textile, it is normal for one to feel apprehensive about his skills

campfire, patterning is capable of ‘forcefully’ creating intangible

and equipment. This not only contributes to our anxiety but this

barriers that dictate space, thus possibly influencing the way

distrust could also psychologically ‘exaggerate’ the pain during a

we interact with one another. This is because for each design

root canal procedure. 31 Thus, this shows how patterning could

or colour combination, different areas of our brain are stimu-

influence our experiences.

lated, thus causing us to express ourselves in a certain manner.

29

Felix Guattari, The Three Ecologies. Accessed on 15 April 2018 Special Issue: ‘Patterns of Architecture’, Architectural Design,79,6,2009. Accessed on 15 April 2018 Dirt. M. 2012. Ed. Born, H. Furjan, L. Jencks. PennDesign and MIT PressPages 290-301. Accessed on 15 April 2018

30 &31 32

56

Lastly, patterning could influence performance design. They could be manipulated in such a way that it supports the function of the building and biophilia. One apt case study that fulfils these goals is the Orkid-in project by Lily Jencks.32 Forming the ornamental facade of a hospital, this installation performs a climate modulating interface between the interior and the exterior using a series of hydronic pipes. Environmentally, re-engineering the climate control system reduces the total energy used by the Presbyterian Hospital, which is one of the sustainability goals. In terms of patterning, they are arranged and bent in such way that it blurs the facade into a thick atmosphere of different environmental qualities whilst still serving as pockets of seating with various degrees of atmospheric effects.

For instance the cloud forest climate area is lightly misted with a cool atmosphere of dappled light. These piped seats lower the temperature and light misting adds moisture into the air, creating a ‘healing’ oasis that deviates from the conventional waiting area. In addition, this project simulates environments that exist from all around the world, ranging from the Cloud forest in Argentina to the semi-arid forest in Southern Morocco.

These forms and phenomenological experiences are recreated through the arrangement of the piping, lighting and surface texture. The precise calibration of these climates emphasises the importance of its engineered performance, allowing rare and sensitive orchids to thrive and flourish.

57

The Portrait Building, 2017 http://shapeshell.com.au/wp-content/uploads/2015/06/Product-3.jpg?v=2

58

PRECEDENT Project : The Portrait Building Architect : Ashton Raggat Mcdougall Date : 2015

The Portrait Building is a 32 storey residential apartment block that fashions the distinguished face of William Barak. He was a Wurundjeri activist, artist and diplomat who played a significant role in bridging black and white culture. His portrait was used in recognition of the history and presence of Aboriginal nations on the land where Melbourne now stands, thus serving as a powerful site for reflection and memory. With regards to its site, it stands aptly in direct line of sight of the Shrine of Remembrance. 33 This pattern reminisces on the social scenes of the past with a modern twist. Its nostalgic qualities, especially when viewed with then Shrine of Remembrance influences the way individuals see Melbourne’s progression.

33 The Conversation, Melbourne’s new William Barak Building is a cruel juxtaposition. https://theconversation.com/melbournes-new-william-barak-building-is-a-cruel-juxtaposition-38983 Accessed on 15 April 2018

59

Image sampling is heavily used in this project. Initially, the chosen surface is divided into several horizontal bands of black and white, all varying in vertical thicknesses. The portrait is then inputed, which further alters the arrangement and the size of these stripes. Subsequently, the measurements for fabrication were obtained directly. In terms of fabrication, the image was translated onto white panels that measure 6m long and 2m high. They are made of 140mm thick engineered surfboard-like composites: PET foam core with E-plate (fibre mesh) and vinyl-ester external wrapping. Thus, when bolted onto black balcony slabs, it creates an strong visual impact where one could vividly identify a face from a distance, but at the same time, with the linearity and monotony of colours be unsure of whose face it belongs to. 33 In addition, these components are all manufactured offsite, which heavily reduces material wastage, whilst still successfully obtaining the desired aesthetic.

34

ARM Architecture,The Portrait Building. http://armarchitecture.com.au/projects/barak-building/. Accessed on 15 April 2018

The Portrait Building, 2017 https://62e528761d0685343e1c-f3d1b99a743ffa4142d9d7f1978d9686.ssl.cf2.rackcdn.com/files/75183/area14mp/image-20150318-12105-ux2xzk.jpg

62 12

B2 CASE STUDY 1.0

63 13

De Young Museum, 2005 https://zenmindmaterialworld.files.wordpress.com/2012/06/dsc_0526b.jpg

64

De Young Museum, 2005 https://zahner.imgix.net/3db59c32-c7e6-4411-8fc5-a56c57ece810/perforated-metal-trees.jpg?w=1920&h=1080&fit=min

CASE STUDY 1.0 Project : De Young Museum Architect : Herzog de Meuron Date : 2005

De young Museum was designed by Swiss architecture firm

was uniquely perforated with distinct patterned dimples to

Herzog de Meuron and local firm Fong and Chan Architects, in

mimic light filtering through a tree canopy. This creates an

collaboration with engineers from Zahner. This museum holds

abstraction on the exterior that resonates with the green foliage

a priceless collection of American art ranging from the 17th

and forestry in the surrounding Golden Gate Park. Copper was

century through the 20th centuries, thus plays a significant role

intentionally selected for its oxidation qualities as it adopts

in retaining the cultural fabric of the city.

a rich green patina that seemingly brings the park into the building. Another reason for this design decision was to allow

The external facade was the key focus of this project. With the

visitors to interact with the collections in as much natural light

help of engineers and software specialists, the copper facade

as possible.

35

ARM Architecture,The Portrait Building. http://armarchitecture.com.au/projects/barak-building/. Accessed on 15 April 2018

65

66

To achieve this effect through Grasshopper, the perforated

the contrast and the porosity of the facade to be changed by

skin explores an interplay between image sampling, attractor

manipulating the pixel density in Photoshop. However, with the

curves and python. Using a series of abstracted photographs

advancement in technology, the script was completely rewrit-

of trees in the park, a system was developed to replicate the

ten and developed as an Image wall, an interactive perforation

dappled-light effect with embossed concave and cover circles

generator that enables the creation of perforated metal screens

of eleven varying depths and perforated holes of six varying

with user-uploaded imagery. 38

diameters. One of the challenges they faced was to quicken the

With the given grasshopper definition, the different parameters

rate of making perforations. At that time, due to the limitations

were explored and evaluated so as to meet the constraints of

in technology, the dots were manually placed through AutoCAD.

the design brief. The selection criteria are listed below to aid the

After it became too laborious, a programmer was invited to

selection process.

37

the project to produce an automated version that would allow

SELECTION CRITERIA Aesthetics

The visual impact on the users Is it visually pleasing?

Fabrication

The constructibility of the structure Could it be manufactured with the given materials?

Relevancy

The response to brief Does it fulfil all the aims of our brief?

Light and Shadow

Interacts with simulated environment Is it responsive to the changes in light?

37 38

Arc 655 Paramertric Modeling in Design, H. de Young Memorial Museum .https://powerpack2013.wordpress.com/2016/10/31/parametric-modeling-in-design/. Accessed on 15 April 2018 Zahner, 10th Anniversary of the New de Young Museum and its Sheet Metal Magic. https://www.azahner.com/blog/de-young-sheet-metal-magicians Accessed on 15 April 2018

67

ITERATIONS SPECIES Variable : Circumference of outer radius(dimples and protrusions)

n=0.05

n=0.1

n=0.3

SPECIES Variable: Circumference of inner radius (dimples and protrusions)

n=0.15

n=0.3

18 68

n=0

0.5

n=0.5

n=0.7

n=0.7

n=0.95

19 69

ITERATIONS SPECIES Multiplying the number of dimples and protrusions

n=4

n=10

20 70

n=

=20

n=30

n=35

21 71

ITERATIONS SPECIES Scaling the size of dimples and protrusions (concurrent use of image sampling - ladybird)

n=10

n=12

n=

SPECIES Variable: Height of dimples and cones (concurrent use of image sampling - ladybird)

n=7

n=14

22 72

n=

=25

n=40

n=50

=28

n=70

n=100

23 73

SUCCESSFUL ITERATIONS

Aesthetics

Aesthetics

Fabrication

Fabrication

Relevancy

Relevancy

Light and Shadow

Light and Shadow

This iteration involves the manipulation of the inner radius.

This iteration was one of my favourites because it challenged

Here, the inner radius of both protrusions and dimples are

the nature of protrusions. By changing the scale of the selected

simultaneously increased to a great extent such that it is even

protrusions (from image sampling), it allows them to overlap

larger than the outer radius. In terms of aesthetics and pattern-

,while still maintaining its clean grid arrangement. From above,

ing, the overlapping of ‘rings’ gives a stronger impression than

it creates a stronger visual impact because the height of each

the rest, as it could no longer be identified with simple circular

protrusion varies, forming a small 3 dimensional wave-like mo-

perforations.

tion, unlike its original 2 dimensional flattened surface.

In my opinion, this iteration is rather successful in addressing

In terms of its relevancy to the brief, the crevices between

the brief. It allows light to ‘pour’ through the structure which

the cones are ideal habitats for insects such as the ladybird.

could be useful in supporting the growth of many plants, form-

Furthermore, in relation to light and shadows, the overlapped

ing a possible habitats for insects such as the ladybird. With

protrusions provide more shade, encouraging individuals to

both humans and insects roaming underneath the structure, it

’huddle’ and congregate, which could faciliate interaction and

could ‘bring’ them together, allowing them to interact and appre-

inititiate conversations between individuals waiting for the tram.

ciate each other’s presence. In relation to light and shadow, the

Nonetheless, this iteration does not fully address the brief on

overlapped rings causes light rays to collide. Therefore, it could

bringing humans and insects together. This is because the sug-

result in a multitude of patterns formed on the ground, all of

gested habitat for the insect (above) is strongly seperated from

which having a similar form of polygon with concaved sides.

the individuals waiting at the tram stop (underneath)

24 74

Aesthetics

Aesthetics

Fabrication

Fabrication

Relevancy

Relevancy

Light and Shadow

Light and Shadow

This iteration was chosen because it deviates greatly from the

This iteration is another favourite because of the shadow it

rest. In terms of aesthetics, the use of image sampling helps us

produces. Similar to the third iteration, the height of the dimples

select and manipulate specific protrusions and dimples whilst

are increased to a great extent, such that it looks more conical,

maintaining the grid arrangement. It creates a stronger visual

resembling icicles. Though it continues to maintain its grid-like

impact as there is some form of variation and ‘shape’ which one

arrangement, the number of dimples running in the vertical

could identify with . However, one drawback is that the manip-

direction is incresed, and the dimples running in the horizontal

ulated dimples and protrusions are of uniform height, making it

direction remains the same. This linear fashion translates into

difficult for one to distinguish the referenced image.

stripe-like shadows with circular perforations within. It differs from the rest and pushes the boundaries of perforations.

In terms of relevancy to the brief, its deepened dimples, form ‘pockets’ that could provide a habitat for the insects. In addition,

In terms of its relevancy to the brief,again, its deepened dimples,

as for light and shadow, the reversed cone heavily filters the

form ‘pockets’ that could provide a habitat for the insects.

light that enters, forming small and irregular dot like patterns.

Nonetheless, similar to the third iteration, this iteration does not

Nonetheless, again, this iteration does not fully address the brief

fully address the brief on bringing humans and insects together.

on bringing humans and insects together. This is because the

This is because the suggested habitat for the insect (above) is

suggested habitat for the insect (above) is strongly seperated

strongly seperated from the individuals waiting at the tram stop

from the individuals waiting at the tram stop (underneath)

(underneath)

25 75

Louvre Abu Dhabi, 2017 https://www.archdaily.com/883157/louvre-abu-dhabi-atelier-jean-nouvel

76

CASE STUDY 2.0 Project : Louvre Museum Architect : Jean Nouvel Date : 2017

The Louvre in Abu Dhabi presents itself as a weightless, gentle and welcoming oasis that serenely combines light and shadow to create this calm and reflective atmosphere. Mimicking a ‘translucent’ parasol, a 180m diameter dome lies at the centre.

It resembles a cupola, drawing references to its Islamic origins.

The dome consists of eight different layers, all of which composes of hundreds of variations of the same component, the rub el hizb, a star like pattern, a symbol that marks the end of each chapter in the Quran. The perforations on this metallic iris diaphragm responds to fluctuating light intensities, by allowing rays of light to permeate through, casting dynamic shadows on the floor, giving a cinematic effect. Described as ‘a rain of light’, its an ode to nature and takes its inspiration from the swaying palm trees of Abu Dhabi.39

39

ArchDaily, Lourve Abu Dhabi / Ateliers Jean Nouvel. https://www.archdaily.com/883157/louvre-abu-dhabi-atelier-jean-nouvel. Accessed on 15 April 2018

77

78

Louvre Abu Dhabi, 2017 https://www.archdaily.com/883157/louvre-abu-dhabi-atelier-jean-nouvel

and orthogonal approaches, that rely on a square grid, were

The Louvre in Abu Dhabi challenges and explores the spatial,

explored but went unsuccessful because of how it clashes

tactile and material possibilities offered in architecture today.

with the base pattern. Therefore, to achieve the ‘floating’ effect

The dome consists of eight different layers: four outer layers

whilst still being structurally sound, 4 supports were added and

clad in stainless steel and four inner layers clad in aluminium

hidden to hold the dome upright. This breakthrough came from

separated by a steel frame five metres high. The frame is

the 23rd model where iterations of the pattern could success-

made of 10,000 structural components pre-assembled into

fully achieve Novel’s lighting vision by altering the layering of

85 super-sized elements, each weighing up to 50 tonnes. In

patterns at different points. With the help of 3d softwares, the

terms of tactile and spatial possibilities, the heaviness of the

thickness and the size of the claddings were adjusted to create

structural components made it difficult for the dome to support

the right porosity. 40

itself through its circumference. To address this problem, geodesic type approaches, with triangles forming the dome,

40

Detail, Louvre Abu Dhabi – A Huge Dome of 85 Puzzle Pieces. https://www.detail-online.com/article/louvre-abu-dhabi-a-huge-dome-of-85-puzzle-pieces-29805/. Accessed on 15 April 2018

79

REVERSE ENGINEERING THOUGHT PROCESS

Anchor

Wind

Kangaroo Bouncy solver

Mesh

4 Surface points

Build surface

80

Web face polysurface

Line

Help of Rhino

13 Curves derived

Patch

Divide

Sbox

Morph geometry into dome

Pattern

Bounding Box

Surface difference

Extrude

81

REVERSE ENGINEERING THOUGHT PROCESS

1

SURFACE POINT AND SUR-

2

MESH AND WIND

3

FORM-FINDING

FACE CREATION 4 points were chosen to determine

The surface was divided into grids and

To get to this stage, kangaroo was

and build the surface.

the wind command wasintroduced to

paused and subsequently baked.

‘blow’ the surface up. The kangaroo command was set to ‘true’ to obtain one form from the several dynamic iterations.To get to this stage, kangaroo was paused and subsequently baked.

6

FRACTAL PATTERN

7

DENSITY AND THICKNESS

8

CURVE EXTRUSION

The Rub el hizb fractal pattern

The density and thickness of the

A circle was drawn and extrud-

was created using Rhino and

pattern is manipulated through

ed. It cuts the curved surface in

AutoCAD and a bounding

the divide command (changes the

such a way that a circular base is

box was used to morph the

number and size of grids).

fromed.

selected geometry onto the curved surface.

82

4

5

MANUAL DELETION

PATCHING

Through Rhino, the lines in one

The lines were patched to

direction were manually joined.

form a ‘lofted’ surface.

The perpendicular set of lines were deleted.

9

END PRODUCT

83

84

OUTCOME Our attempt in reverse engineering the Louvre Museum in Abu

the cantilevering command to obtain the curved dome. Though

Dhabi went successfully.

we managed to achieve our desired curvature, we were stuck at a point where we could not create a surface or even bake

We achieved our desired perforated patterned effect and man-

the curve. Despite the discouragement, we decided to stick

aged to morph it smoothly onto the dome without disruptions

on to Kangaroo, and instead use the wind command, thinking

and deviations from our original pattern. We were also able to

that it would ‘blow’ the surface we create upwards. Other than

manipulate the marker grids on the dome such that the density

the 4 anchor points at each side, it successfully mimics the

of our patterns could be altered to mimic each layer. In addition,

curvature of the dome. Nonetheless, even after we derived our

the script we derived also allowed us to play with the protru-

shape, we had difficulties in making it into a surface. We tried

sions of the selected pattern, which helped us attain a thickness

the patch and loft command but both were unsuccessful. Thus,

reflective of the actual dome layer.

we resorted to baking the grid-lines and joining the lines in Rhino such that it forms individual curves, which was eventually

One of the challenges we faced was to create the shape of

patched to create a surface.

the dome itself. Initially, we started with a loft. We tried to get the curves to match up such that it forms a cohesive dome.

To address the 4 anchor points, we used and adjusted the po-

However, the curvature went only in one direction, which steers

sition of the cylinder such that it cuts through the curved layer.

away from how our desired dome, whose curvature goes in two

Subsequently we subtracted it out to remove the sharp edges

ways. Afterwards, we decided to give Kangaroo a shot and used

of the curved layer to achieve the round base of the dome.

85

B4 TECHNIQUE DEVELOPME

36 86

ENT

37 87

TECHNIQUE DEVELOPMENT This process involves the manipulation and changing of parameters of teh defintion derived from reverse engineering.

Therefore, it allows us to further explore the script and push its boundaries to create new unpredictable forms. The iterations are divided into the following categories: changing of srufaces (dome and catenary) density, perforations, thickness, patterns and collage/layering.

In comparison to Case Study 1.0, this section aims to produce iterations that would directly address the bried: creating a tram stop for both humans and ladybirds to live harmonoiusly together.

SELECTION CRITERIA Aesthetics

The visual impact on the users Is it visually pleasing?

Fabrication

The constructibility of the structure Could it be manufactured with the given materials?

Relevancy

The response to brief Does it fulfil all the aims of our brief?

Light and Shadow

Interacts with simulated environment Is it responsive to the changes in light?

88

89

INITIAL RESPONSE TO BRIEF

When I think about ladybirds, the two words that come to mind is grace and protection. At one glance, the gentleness of this docile creature makes her seem fragile, just like her butterfly counterpart. However, underneath that guise, lies a silent warrior. As a defence mechanism, ladybirds protects themselves by releasing a toxic fluid called hemolymph, repelling predators by its foul smell.

90

There is also a scared connotation to these creatures as they are being refered to as Virgin Mary. They are believed to be a miracle sent from above to destroy the aphids that infected the crops and caused famine.

It is believed that its red shell represents the cloak of Mother Mary and the black spots represent her sorrows.

91

Drawing inspiration from her reference to Mother Mary, the topic that I wanted to focus on is ‘protection’.

The cloak she wears is heavily emphasized and could be identified with how it ‘blankets’ us. Blanketing gives us the idea of a vast shield that embodies a sense of security. In the past, though small, ladybirds have protected our sustainability through ensuring our food source. The wiping out of aphids was widespread yet at the same time rather gentle and almost seamless, far from large chaotic destruction. I wanted to bring out this gracefullness whilsts still keeping it extensive.

Therefore, I decided to explore the qualities of fabric such as how it moves, folds, drapes and tightens.

92

93

ITERATIONS

SPECIES Variable: Shape of surface using wind function and bouncy solver in Kangaroo

94

95

ITERATIONS

SPECIES Variable: Shape of surface likened to a caternary

96

97

ITERATIONS SPECIES Variable: Density of pattern

n=7

n=10

SPECIES Variable : Shape of holes within surface

SPECIES Variable : Height of pattern (random function)

98

n=15

n=20

n=25

99

ITERATIONS SPECIES Variable : Pattern

100

101

ITERATIONS SPECIES Collaging and Layering -same pattern

102

103

ITERATIONS SPECIES Collaging and Layering - different patterns

104

105

SUCCESSFUL ITERATIONS

Aesthetics

I chose this iteration because it represented my initial ideas of a tram stop. It has a canopy-like form that could figuratively be

Fabrication

capable of providing shade and protection, despite the many perforations. My intent was for it to rest on the ground with its in-

Relevancy

dividual components arranged in a way that it forms barriers and ‘forces’ individuals to gather. This idea was further developed from

Light and Shadow

my week 1 algorithmic sketch task, where I wanted to reduce the bore of waiting by sparking spontaneous interactions between the individuals. However, in terms of its relevancy to the ladybird, I feel that this structure was not representative of the ‘cloak’ and the draping of fabric that I wanted to bring out.

Farbication-wise, this structure would be rather constructable as there is ground contact, which could help support the arching structures above. In addition, the curvature is more one directional, thus could be achieved with sturdier materials.

As for light and shadows, the variations in patterning helps it cast a variety of dyamic shadows that is capable of changing with reference to the sun path.

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Aesthetics

This iteration is a further developed version of the first iteration. For this iteration, I went on to explore and push the boundaries of pat-

Fabrication

terning and perforations. I did this by introducing some variation in height. It also adds some form of playfulness, in hopes of livening

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up the atmosphere around the tram stop.,

Light and Shadow

Similar to the first iteration,my intent was for it to rest on the ground. In comparison to the first iteration, the individual components are arranged in a way that it is directed downwards, allowing it to have more ground contact. Its close proximity allows individuals to engage more with the structure physically, under the guise of creating stronger and more direct barriers that ‘forces’ people to congregate In terms of fabrication, the more ground contact and fewer suspended components make its easier for it to be structurally sound.

Therefore this might be easier to construct as opposed to the first iteration.

For light and shadows, the variation in thicknesses could add more dimension to the patterns form in comparison with the first iteration

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SUCCESSFUL ITERATIONS

Aesthetics

Aesthetically, though it looks really simple, this is one of my early yet most favourite iterations. It comes across as very gentle, ele-

Fabrication

gant and graceful, which are all the characterisitics of the ladybird that I wanted to bring out. The soft wave like motion gives the

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seemingly planar strcuture a 3 dimensional effect, allowing it to have some form of charcter. It also resembles drapery and the ma-

Light and Shadow

nipulation of fabric, which I explored by hand previously. Likened to a blanket, it provides shelter and protection for individuals waiting for the tram, which could be identified with how ladybirds protect our sustainability indirectly and in the most subtle way.

As a form of architecture, this structure reminds me of the campfire example brought up by Lily Jencks. It forms intangible architecture that effortlessly gathers people through shading, which could potentially, spark interaction.

Some fabricational constraints are the supports and the achieiving the double curvature that is representative of drapery.

In terms of light and shadow, this simple planar structure is capable of casting a myraid of patterned shadows through its folding and 2 directional curvature.

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Aesthetics

This iteration sets itself apart from the previous three in a way that it was the most sucessful in conveying my response towards the

Fabrication

brief. With the help of Rhino, I compiled and collaged the various iterations derived earlier in a linear manner, unlike the first two. I

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prefered this arrangement because architecturally, similar to the third iteration, it reminds of the campfire example brought up by

Light and Shadow

Lily Jencks. I wanted to bring in the idea of intangible barriers that, without force, seamlessly brings peoples to congregate under the shade. This softness and gentlessness could be associated to the demeanor of the ladybird and its reference, Mother Mary. However, unlike the 3rd iteration, i wanted to add more pattern variation to bring in some form of playful tp liven up the interactions between ladybirds and humans.

Some fabricational constraints are the supports and the achieiving the double curvature that is representative of drapery.

In relation to light and shadow, the collaging method I used was with reference to how the Louvre in Abu Dhabi was being formed.

The layering of geodesic patterns in the Lourve casted a dynamic array of patterns, which was also something that I wanted to bring out.

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B5 TECHNIQUE : PROTOTYPES

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PROTOTYPES Prototyping plays a very important role in developing my design as it sets the limits of what could be carried forward from the digital phase to the physical one. This prototype gives me a chance to test out my ideas and learn from my mistakes before delving into the final design.

Out of all the iterations, though most challenging and seemingly structurally unsound, I have decided to go with the fourth iteration because it sucessfully conveys my response towards the brief.

The two structural complications to this form is the supports and the two directional curvature.

In terms of support, this structure poses the same complications with my precedent, the Louvre in Abu Dhabi. The Louvre aimed to create a weightless and seemingly floating dome, and to address this issue, they used 4 hidden piers aligned at the perimeter. Initially, I wanted to employ the same method but the nature of my structure made it difficult for me to do so. I wanted to make my structure more dynamic, such that it moves along with the wind. In addition, this structure does not use simple geometry such as a dome, nor could it be identified with a symmetrical catenary.

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113

Initially, I wanted to use the normal 70gsm paper as it was thin

In addition, it also worked out better than way because it waas

and flexible enough to achieve curvature. Similar to fabric, it is

thick enough to hold the perforations.

also very responsive to wind.

The reason why I chose to print it as a single entity is because The large perforations made it very fragile which prompted me

I wanted each pattern to connect seamlessly with the its

to opt for laser cutting. However, unfortunately, 70gsm paper

neighboring patterns. If I were to have it as individual com-

was too thin for it to be done in the Fab Lab, thus I opted for the

ponents and glue them together, I would be able to get more

next best option: ivory board. Despite being a little sturdier than

fluctuations. However, it might turn out to look fragmented and

paper, it was flexible enough to achieve the draping effect.

angular, which is not reflective of drapery and folding of cloths.

114

However, one drawback to this method is that it needs additional support to hold it up as the curvature is temporary. Furthermore, the sturdiness of all forms of paper make it difficult for the curvature to go in 2 directions.

115

The fishing lines used to suspend the structure were sturdy and its translucency made it capable of dissolving the lines that hold the structure in place. Nonetheless, this method was not very sucessful in achieving the aims of a floating structure. The timber supports were not very aesthetically pleasing, and seemed to draw more attention away from the structure itself. Perspex was used as well, but it was not sturdy enough.

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118

The perforations in the ivory board made it very fragile and more succeptible to tear. Thus, to fasten and strengthen the connection between the fishing lines and the board, glue was used.

119

Nonetheless, I have also laser cutted single entities to test its performance. Unfortunately, for the same pattern, the width between the perforations were too thin, making it almost impossible to fold the edges without breaking the pattern (even after additional scoring).

120

However, for the above pattern, lasercutting it into different fragments proved to be more successful because there are no perforations within each entity

121

To address the issue on having double curvatures, I have went on to experiment with farbic itself. Mimicking the mesh relaxation component in Kangaroo, I manipulated the fabric to achieve the minimal surface effect. However, doing things by hand gave me more control, thus i went to further play with the cloth further to get the following effects. The photos above and to the right shows my best outcome.

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OUTCOME From all the prototypes, tested, the first prototype that uses the single ivory board suspended by fishing line, supported by a timber frame worked out the best. There is a seamless continuity of patterns which is representative of draping and portrays the gracefulness of the ladybird. It is unlike the rest which are more fragmented and angular. Nonetheless, despite achieving the smooth sloping effect, the curvature is still mainly in one direction. For this prototype, some of the edges are also fastened as seen from the photo beside. This allowed it to have more than one direction of curvature, but the curvature seems too controlled and is limited. Thus, for future exploration, a combination of the cloth method used in prototype 4 could be used in conjunction to the suspension method used in prototype1.

Prototypes 3 would also be useful in forming more fragmented and angular patterns.

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B6 TECHNIQUE : PROPOSAL

127 77

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SITE Set close to the bustling city, Lincoln Square is home to the CBD’s first public playground. It was an area full of life, with an energy that is very much different from the city.

There is something special about this central plaza. It holds the many childhood memories of aspiring professional skateboarders and continues to be their main training ground despite the many available skateparks. They have a very strong attachment to Lincoln Square because of its culture. The free and easy atmosphere allows them to skate under less pressure, uncompetitively and to their heart’s content.

Nonetheless, Lincoln Square has undergone a series of controversial changes that have dissapointed all the stakeholders: the skaters, residents, and commuters. In 2002, it became a memorial for the victims of the Bali bombings. Despite changing into a more solemn atmosphere, the skaters continued to use this space. This was frowned upon by the public as it showed disrespect and insenstivity towards the families of the deceased. However, looking at it from the other side, it was understandable for the skaters to continue to use this place.

Previously, it was known that this area was heavily dominated by skateboarders, and from their point of view, it was rather unfair for their home to be ‘robbed’ away without their consent.

Ownership and the lack of compromise was one of the main problems in this area, and this is something thatI would like to resolve through the brief.

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PROPOSAL The brief for this studio was to create an ecological corridor that supports the biodiversity in the city, with the inclusion of insects.

Adding another stakeholder, makes compromising and living together harmoniously more challenging, especially when many insects are not well liked by the public.

To respond to this brief, I wanted to show how each stakeholder plays an important role in supporting our sustainability as a whole. Thus I have decided to look into the ladybird.

Drawing inspiration from her reference to Mother Mary, I wanted to emphasize on the protection ladybirds offer us to sustain our food source and mankind. To survive the drought, there was a graceful yet extensive wipe out of aphids. In order to pay tribute to them and highlight their importance in our ecosystem, I wanted to create a tramstop that allows skaters, commuters, residents and ladybirds to live harmoniouslt together.

As for the form that I have chosen, I wanted to create a structure that embodies the idea of blanketing. Blanketing reminds me of a vast shield that provides a sense of security.

This could be identified with the red outer layer of the ladybird which draw references to the cloak Mother Mary wore.

To bring out this extensive, gentle and elegant persona, I went on to explore simple suspending structures like laundry lines and drapery. In addition,to exaggerate the massiveness and to add depth, I used the method of collaging.

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133

As they thrive in sunny conditons and at times partial shdae, they are aligned to the perimeter of the tram stop. They are placed to the shorter ends to prevent the view of Lincoln Square from being blocked.

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84

NASTARIUM NASTURTIUM Composition-wise, I selected the Nastarium plant because of its Composition-wise, I selected the Nasturtium plant because of its cohesiveness in form with my structure.The layering of the leaves cohesiveness in form with my structure.The layering of the leaves in the Nastarium plant mimicks the collage method I used, which in the Nasturtium plant mimicks the collage method I used, which somewhat helps dissolve my structure, in a way that both flaura somewhat helps dissolve my structure, in a way that both flaura and man-made forms becomes one. and man-made forms becomes one.

Other than aesthetics, Nastariums are able to thrive in poor soil Other than aesthetics, Nasturtium are able to thrive in poor soil conditions, thus requires less maintenance. Its strong fragrance conditions, thus requires less maintenance. Its strong fragrance attracts lady birds and other pollinators. In addition,the underside attracts lady birds and other pollinators. In addition,the underside of its large leaves provides a suitable surface for lady bird to lay of its large leaves provides a suitable surface for lady bird to lay their eggs and reproduce. This is with hopes of encouraging them their eggs and reproduce. This is with hopes of encouraging them to make this tram stop their home, seemlessly bringing ladybirds to to make this tram stop their home, seemlessly bringing ladybirds to live harmoniously with people. live harmoniously with people.

BIRD OF PARADISE BIRD OF PARADISE Similar to Nasturiums, I have specifically chosen the Bird of ParaSimilar to Nasturtium, I have specifically chosen the Bird of Paradise because of its high resistance to more drastic and temperate dise because of its high resistance to more drastic and temperate climatic condtions, which is suitable for the Australian weather. It climatic condtions, which is suitable for the Australian weather. It also requires less maintenance and blooms during spring, summer, also requires less maintenance and blooms during spring, summer, and at times winter, which allows both indviduals and lady birds to and at times winter, which allows both indviduals and lady birds to enjoy them throughout the year. In addition, its bright colours gives enjoy them throughout the year. In addition, its bright colours gives energy to the area, which relates well to my intentions of bringing energy to the area, which relates well to my intentions of bringing life whilsts still keeping a graceful and soft demeanor through life whilsts still keeping a graceful and soft demeanor through the canopy-like structure. With blooms perched on long stems, it the canopy-like structure. With blooms perched on long stems, it resembles the crest of tropical birds, peeking through the leaves resembles the crest of tropical birds, peeking through the leaves which add a playful touch to the area. which add a playful touch to the area.

The Bird of Paradise is also very succeptible to pests which serves The Bird of Paradise is also very succeptible to pests which serves as a great food source for ladybirds. This is with hopes of encouras a great food source for ladybirds. This is with hopes of encouraging them to make this tram stop their home, seemlessly bringing aging them to make this tram stop their home, seemlessly bringing ladybirds to live harmoniously with people. ladybirds to live harmoniously with people.

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85

TRAM LINE

LINCOLN

SQUARE

136

SWANSTON STR EET

PELHAM STREET

CANADA

LANE

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139

140 90

141 91

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B7 LEARNING OUTCOMES

143

Objective 1

Objective 3

Interrogating the brief by considering the process of brief for-

Developing skills in various three dimensional media and

mation in the age of optineering enabled by digital technologies.

specifically in computational geometry, parametric modelling, analytical diagraming and digital fabrication.

When we were first given the brief, I was a little overwhelmed because it posed quite a challenge. Though it might be relatively

Through the use of rhino, grasshopper, kangaroo and lunchbox,I

easier for docile insects such as butterflies and moths to be ac-

was able to further develop my skills and communicate my

cepted in the society, other insects such as bees, ladybirds and

ideas through the the sketchbook and technical development.

ants are shunned upon by many. Many are scared and would

However, to pick a single iteration to address the brief complete-

rather keep a distance from them especially for the people living

ly still posed a great challange for me. Thus I have opted for a

in the city. Thus to design a tram stop in the city and weave

collaging method as personally, I feel that I am able to convey

insects into our community, was a little tricky. However, that

my ideas better with a collective set of iterations.

made it all the more thrilling and enjoyable as we were opened to a new digital platform that allowed us to derive several un-

Objective 4

predictabl outcomes to explore new ways or organizing spaces,

Developing an understanding of relationships between architec-

especially during the technique development phase.

ture and air through interrogation of design proposal as physical models in atmosphere

Objective 2 Developing an ability to generate a variety of design possibi-

One of the pitfalls of computational design,(discussed under A3

lites for a given situation by introducing visual programming,

Composition/Generation) was to adopt the ‘lone gun’ mentality

algorithmic design and parametric modelling with their intrinsic

where we get too caught up in it, such that it makes scripting

capactities for extensive design space exploration.

an isolated craft. Obliviously, it causes us to deviate from the real design objectives and its relationship to the environment.

Deriving design iterations too was very enjoyable and at the

In the beginning stages of deriving iterations, I was guilty of

same time, very challenging. On one hand, playing with pa-

this mistake especially in part B2. I had to constantly remind

rameters and number sliders made me very anxious for errors

myself to go back to the brief and change my iterations in such

and crashing of files. However,on the other hand, seeing how a

a way that it addresses it. Thus, for part B3, I have decided to

small change in one component could lead to an unexpected

use the wind component from Kangaroo, in hopes of achieve-

outcome far from its orginal, made it very exciting. Nonetheless,

ing a dome and a surface that responds to the environment. In

the continuous baking and compilation of iterations helped me

addition, for my prototype in part B4, I have used the suspen-

explore the different possibilites of addressing the brief and the

sion technique to address structural constraints, its relationship

advantages and disadvantages of the parametric algorithm.

to my insect as well as its response to the wind strengths and directions in the environment.

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Objective 5

leadingme to realise how far my first impression of it deviates

Developing the ability to make a case for proposals by developi-

from the actual building.

ing critical thinking and encouraging construction of rigorous and persuasive arguements informed by the contemporary

Objective 7

architectural discourse.

Develop foundational understandings of computational geometry, data structures and types of programming

During the discussion for my proposal, there was one iteration that I really resonated with. Despite not fully displaying my

At the beginning, I had no compuational design background.

grasshopper skills and not being as aesthetically pleasing, I had

However throughout the semester, I have gained more confi-

a strong attachement to it beacuse it summarises my response

dence and improved my computational skills through the week-

to the brief in the best way possible. I went back and forth on it

ly videos and tutorials. Other online Youtube tutorials has also

till I finally decided to go with even though it was the hardest to

helped me further develop my sketchbook such that it appears

construct among the other successful iterations.

to be more spontaneous, allowing me to arrive at unpredicted forms that deviate from the outcomes of the weekly tutorials.

Objective 6 Develop capabilities for conceptual, technical and design analy-

Objective 8

ses of contemporary architectural projects

Begin developing a personalised repertoire of compuational techniques substantiated by the understanding of advantages,

My attempt on reverse engineering the Louvre Museum was

disadvanatges and areas of application.

long, at times depressing, and full of trial and error. Despite, looking rather simple, there were many steps to arrive to that

My grasshopper skecthbook contains a collection of forms that

outcome, especially, to get the double curvature. However

are vastly different from one another. I try to make things very

through this process, I was able to have a better grasp at

different each week to keep it exciting and hopefully sponta-

grasshopper and was able to analyse the conceptual, technical

neous. However, this collection seems to lack direction, which is

and design of the project to greater detail. Fidling with all these

something I want to improve on in the coming weeks.

components allowed me to pay more attention to its design,

147

Text Felix Guattari, The Three Ecologies. Accessed on 15 April 2018

29

Special Issue: ‘Patterns of Architecture’, Architectural Design,79,6,2009. Accessed on 15 April 2018

30 &31 32

Dirt. M. 2012. Ed. Born, H. Furjan, L. Jencks. PennDesign and MIT PressPages 290-301. Accessed on 15 April 2018

33

The Conversation, Melbourne’s new William Barak Building is a cruel juxtaposition. https://theconversation.com/melbournes-new-wil-

liam-barak-building-is-a-cruel-juxtaposition-38983 Accessed on 15 April 2018 34

ARM Architecture,The Portrait Building. http://armarchitecture.com.au/projects/barak-building/. Accessed on 15 April 2018

35

ARM Architecture,The Portrait Building. http://armarchitecture.com.au/projects/barak-building/. Accessed on 15 April 2018

37

Arc 655 Paramertric Modeling in Design, H. de Young Memorial Museum .https://powerpack2013.wordpress.com/2016/10/31/para-

metric-modeling-in-design/. Accessed on 15 April 2018 38

Zahner, 10th Anniversary of the New de Young Museum and its Sheet Metal Magic. https://www.azahner.com/blog/de-young-sheet-

metal-magicians Accessed on 15 April 2018 39

ArchDaily, Lourve Abu Dhabi / Ateliers Jean Nouvel. https://www.archdaily.com/883157/louvre-abu-dhabi-atelier-jean-nouvel. Ac-

cessed on 15 April 2018 40

Detail, Louvre Abu Dhabi – A Huge Dome of 85 Puzzle Pieces. https://www.detail-online.com/article/louvre-abu-dhabi-a-huge-dome-

of-85-puzzle-pieces-29805/. Accessed on 15 April 2018

148

B9 REFERENCES Images The Portrait Building, 2017 http://shapeshell.com.au/wp-content/uploads/2015/06/Product-3.jpg?v=2 The Portrait Building, 2017 https://62e528761d0685343e1c-f3d1b99a743ffa4142d9d7f1978d9686.ssl.cf2.rackcdn.com/files/75183/area14mp/image-2015031812105-ux2xzk.jpg De Young Museum, 2005 https://zenmindmaterialworld.files.wordpress.com/2012/06/dsc_0526b.jpg De Young Museum, 2005 https://zahner.imgix.net/3db59c32-c7e6-4411-8fc5-a56c57ece810/perforated-metal-trees.jpg?w=1920&h=1080&fit=min Louvre Abu Dhabi, 2017 https://www.archdaily.com/883157/louvre-abu-dhabi-atelier-jean-nouvel Louvre Abu Dhabi, 2017 https://www.archdaily.com/883157/louvre-abu-dhabi-atelier-jean-nouvel

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DETAILED

D DESIGN

CONTENTS

C1

DESIGN CONCEPT

154

INTERIM FEEDBACK

156

CLIENT ANALYSIS

158

PRECEDENT

160

CONCEPT

162

TECHNIQUE DEVELOPMENT

166

PARAMETRIC ALGORITHM

168 174

ITERATIONS

176

PROPOSAL ON SITE

C2

178

DESIGN CONCEPT

180

FEEDBACK

182

SITE ANALYSIS

184

PRECEDENT

CONNECTING PARKS

188

FURTHER SITE ANALYSIS

190

C3

DESIGN CONCEPT AND PROTOTYPES

194

FEEDBACK

196

PRECEDENT

198

200

PARAMETRIC ALGORITHM

ITERATIONS

206

PROTOTYPES

210

C4

FINAL DESIGN

214

FINAL CONCEPT

216

SITE PLAN

218

ELEVATIONS

220

PERSPECTIVES

224

152

C5

FINAL MODEL

230

FINAL PROTOTYPE

232

C6

IMPROVEMENTS

250

FEEDBACK

252

DETERIORATION

254

256

LEARNING OUTCOMES

C7 REFERENCES

260

153

154

C1 DESIGN CONCEPT

155

INTERIM FEEDBACK One of the concerns my tutor has highlighted was that my

To improve and value-add to my proposal, I have partnered up

strongest criteria was easily aesthetic, even though I have used

with another classmate. We started out by reading up on new

my concept heavily to guide my explorations. This criteria needs

precedents and coming out with a new script followed by a

further clarity and specificity in relation to others. In addition, he

series of iterations to further explore the different parameters.

brought up the fact that my approach of including skaters as part of my project is not that convincing. He also suggested the possibility of including plants within my structure, as means of adding to the pattern repertoire.

On my end, after looking back at the tutorial synopsis,I realised that my proposal did not entirely fulfil the aims of the brief.

Despite my concept leaning towards the idea of separating the structure and the flora so as to bring individuals closer to the ladybirds, it was clearly stated in the brief that the flora should be in the form of hanging gardens, which my structure did not show any resemblance to. In addition, the dislodgement of my structure from flora prevents it from reducing the urban heat island effect to its fullest potential.

Looking forward, one of my aims of part C, is to change my structure in such a way that it reduces the urban heat island effect more efficiently. I would also hope to re-address the connection between the new habitats and the biodiversity hotspots.

Another one of my goals is to strengthen my concept on how ladybirds protect our sustainability and to convey it more clearly with my structure.

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CLIENT ANALYSIS GENERAL Part of the Coccinellidae family, most ladybirds have domeshaped bodies with six short legs, similar to her beetle counterparts. Depending on the species, some of them can have spots, stripes or no markings at all. There are about 5000 species of ladybird across the world but the most common in Victoria are the transverse ladybird (the Coccinella transversalis), common spotted ladybird (Harmonia conformis) and the minute two-spotted ladybird (Diomus notescens). Though they may appear docile, these lady birds are known to be lethal killers to aphids in many eucalyptus plantations, and usually feeds on teh immature stage of Eucalyptus leaf beetle.

158

DEFENCE MECHANISM

REPRODUCTION

Their bright colours act as a form of deterence against her pred-

Usually, ladybirds lay their eggs in clusters on the underside of a

ators. When confronted, they give off a light scent and secrete

leaf. After a few days,they turn into Larvae, where they under-

an oily yellow fluid from the joints of their legs that prompts

go a growth spurt, in the course of shedding their skin several

the predator to think twice. They also remain still and play dead

times. When they reach their full size, they attach themselves to

when they sense the presence of their predator.

a leaf by their tail, and a ‘pupa’ is formed.After one to two weeks, the pupa develops into an adult ladybug.

HABITAT During summer, they lay usually live among plants such as the

NASTURTIUM

nastarium, caraway flower, tansy, geranium, all of which are

Nasturtium are able to thrive in poor soil conditions, thus requires

abundant in food source. However, in later autumn and early

less maintenance. Its strong fragrance attracts lady birds and other

winter, they hibernate and huddle up in large groups of thousands under tree barks and lead litter. Besides huddling up, they also hide in cracks within houses to protect themselves from the cold.

aphids, a food source for many ladybirds. In addition,the underside of its large leaves provides a suitable surface for lady bird to lay their eggs and reproduce.

ANGELICA Angelicas prefer cooler climates and a semi-shady to sunny location. Similar to Nasturtiums, its fragrance attracts lady birds and other aphids, a food source for many ladybirds

159

Built to Wear , 2009 https://www.archdaily.com/44739/built-to-wear-ball-nogues-studio

160

Built to Wear , 2009 https://www.archdaily.com/44739/built-to-wear-ball-nogues-studio

PRECEDENT Project : Built to Wear Architect : Ball Nogues Date : 2009 Part of the Shenzhen and Hongkong Biennale of Urbanism,

native gesture of hope. This hanging structure uses 10,000

Built to Wear is an architectural installation that illustrates the

garments that plays a dual role of a building component and an

accelerated temporality of cities on the move. Today, cities

individual article of clothing. Towards the end of the Biennale,

are increasingly adorned with provisional environments and

the installation was dismantled and the suspended garments

architecturally scaled events which pops the question: how are

were distributed to visitors. This shows how remnants of

these big temporary urban spectacles eventually dismantled

temporary architecture could be reused, which responds to the

and disposed?

issue on waste management.41

Built to Wear addresses this issue by recontextualising the clothing item- a symbol of mass consumerism -into an alter-

41

Archdaily. Built to Wear-Ball Nogues Studio. https://www.archdaily.com/44739/built-to-wear-ball-nogues-studio/. Accessed on 3 May2018

161

Greed is a semi-temporary wave like installation that uses a se-

CONCEPT

ries of chords to suspend a range of detachable scarves. Some permanent structures lie between selected layers of scarves, with patterned perforations that houses dills, fennels, nasturniums and angelicas, all of which are habitats of the ladybug.

IIn this project, we wanted to highlight the temporality and fragility of the ladybird population and how its decline could potentially affect our sustainability.

Drawing inspiration from her reference to Mother Mary, we wanted to emphasise her graceful yet extensive wipeout of aphids during the droughts. Thus, we wanted our form to mimic

LATE AUTUMN

EARLY WINTER

162

a blanket. Blanketing reminds us of a gentle yet vast shield that

of sectioning as it segregates the entire ladybird population

ensures tight security, an apt representation of her graceful de-

into portions which illustrates her gradual decline in number.

meanour and the extensive protection she gives. However, our

In addition, as this structure slowly loses warmth, it becomes

curiosity and eventually greed, prompts us to take her existance

less Nonetheless, there are a few permanent structures that

for granted. Our constant selfish desire for development, oblivi-

lie sandwiched between the layers of scarves. Perforations

ously robs her home away, causing her number to dwindle. For

were made on the panels to mimic the cracks in the wall, that

this structure, we portrayed the ladybird population in the form

ladybirds snuggle in during the bitter winter. This represents our

of scarves. During winter, as commuters slowly take away a

attempt in protecting the ladybird population. We have made

free scarf, the number of available scarves reduces. As spring

the perforations in such a way that it reflects the industrial

and summer come along, the reduction in shade gives less

mindset and method in which we as humans try to rectify our

protection from the blasting sun rays, which could be identified

environmental misdoings.

with how this ecosystem imbalance could affect our sustainability as a whole. In this case, we used the technique

LATE WINTER

163

BUILT TO WEAR Initially, we went to look at this precedent because it illustrates the idea of temporality and how a form could be taken apart gradually, with the help of direct human interaction.

164

During winter, ladybirds huddle and hide in small wall cracks to protect themselves from the cold. To provide an appropriate living space for them, we wanted to build on the idea of warmth. Thus, instead of using random articles of clothing, we planned on using scarves. In terms of arrangement, we also took reference from the Built to Wear installation where several layers of clothing are spaced at regular intervals. The gaps betweene each layer entrap air, which acts as a form of insulation, which may be an ideal habitat.

The idea of humans ‘decomposing’ the structure as a form of ‘interaction’ between architecture really resonated with us. Thus, we wanted to make the scarves detachable, and somewhat ‘up for grabs’, which intuitively prompts humans to enagage with the structure, in hopes of interacting with the ladybirds.

165

TECHNIQUE DEVELOPMENT Subsequently, we wanted to implement both our techniques (sectioning and patterning) to form a structure that addresses the brief. Through thorough discussion, we had a rough idea of our final form, thus worked towards it by careful sequencing.

The development of our iterations are as followed.

1. Form Finding 2 .Sectioning 3. Patterning 4. Further Sectioning

SELECTION CRITERIA Aesthetics

The visual impact on the users Is it visually pleasing?

Fabrication

The constructibility of the structure Could it be manufactured with the given materials?

Relevancy

The response to brief Does it fulfil all the aims of our brief?

Spatial characteristics

Allows easy movement and access Will it allow trams and tall vehicles to pass through?

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PARAMETRIC ALGORITHM MESH RELAXATION Using a physics simulation plug in, we simulated a tensile structure by introducing the gravity component to a surface that is held by 4 anchor points. This method was used to achieve the gentle wave 2-dimensional curvature that mimicks drapery and blanketing

Boundary

Rectangle

Explode

M plane

Geometry

Mesh edges

Deconstruct mesh

Load

Negative

Unit Z

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Surface

Point

Length

Graph

Evaluate surface

Control Points

Merge

Anchor Item

Merge

Construct Mesh

Solver

Button

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SECTIONING Subsequently, the surface derived previously was extruded to form solid. It is sectioned using the offset line in the series. A number slider is used to control the number of sections

Brep

Extrude

Brep intersect

Surface Split

Z factor

Curve

Brep

Bounding Box

Offset

Extrude

Series

Z factor

170

Deconstruct brep

Box corners

Cull

Brep

Extrude

Vector

Deconstruct points

Larger

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Brep

PATTERNING Patterning was used to create perforations within the panels, allowing ladybirds to snuggle in and protect themselves from the cold. These patterns would also be added to the scarves to ensure unity

Surface

Isotrim

Divide

Surface box

Bounding Box

Morph geometry into solid

Solid intersection

Pattern

Section geometry

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FURTHER SECTIONING Sectioning is used again at the perpendicular axis to create the scarves. A number slider is employed to control the number of scarves for each layer. To derive different patterns on each panel and scarf, further sectioning must be carried out last.

Brep

Curve

Solid difference

Offset

Extrude

Surface

Extrude

Series Unit Z

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Vector

ITERATIONS SPECIES

SPECIES

Mesh relaxation

Varying the number of sections

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SPECIES

SPECIES

Varying the patterns on each section

Varying the widths of each scarf

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PROPOSAL ON SITE Our structure hovers over the area between Lincoln Square and the tram stops, providing shelter for commuters and residents. This area was chosen because it lacks shade and somewhat ‘extends’ the tree canopy into the concrete areas.

This would also reduce the urban heat island effect during the beginning, but as more scarves are taken down, its effectiveness will deteriorate.

PANEL

Sandwiched between layers of scarves, some sections might come in the form of panels whichh resemble a hollow shell. It serves as a flower pot that houses the plants ladybirds live among.

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SITE PLAN

NORTH ELEVATION

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EAST ELEVATION

C2 DESIGN CONCEPT

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FEEDBACK During the feedback session, our tutor highlighted several con-

Another point raised was the position of the structure. Being po-

cerns regarding our structure. Though we derived our structure

sitioned on the main road, the grabbing of scaves could cause

using the mesh relaxation technique, that involves tensile forces

car accidents and encourage jaywalking.

our final outcome did not fully reflect the process we went through. Our eventual use of poles to hold the suspension wires

Thus moving forward, we have decided to conduct further

did not push our arguement of using the mesh relaxation tech-

site analyses to gain inspiration on how we could suspend our

nique to its fullest potential. In addition, the poles were seen to

structure.

be independent from the rest of the structure. One very useful advice given by our tutor was to seamlessly merge the supporting structures with our main structure (being the scarves and the panels).

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SITE ANALYSIS MOVEMENT Lincoln Square is a very busy area. Other than the trams, the

from the city is squeezed into the narrow road, making Lincoln

T-intersection and the narrow single lanes in both directions of-

Square all the more densely populated.

ten create a bottle neck for cars during peak hours. In addition, Lincoln Square is often used as a shortcut for many university

This makes it rather challenging for us to create a new structure

students that wish to gain convenient access to the law and

that uses bulky supports, as this would only add to the conges-

commerce buildings. Lastly, a single bike lane that stretches

tion.

TRAMS FOOT CAR

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SEPERATION Another observation we made was that there was a clear segregation between greenery and the concrete buildings. Thus to reduce the impending urban heat island effect as raised in the brief, we plan to bring fauna into the concrete areas.

SHELTER Our first attempt at reducing the urban heat island effect was to provide shade in highly populated areas as well as the tramstop, the main objective of our brief.

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Xtra Moenia , 2011 http://www.evolo.us/architecture/xtra-moenia-a-parametric-designed-installation-with-multi-color-oculi/ Xtra Moenia , 2011

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PRECEDENT Project : Xtra Moenia Architect : SOFTLAB Date : 2011

Designed by SOFTLAB, Xtra Moenia draws classical architectural references to achieve its suspension form. Its shape is created using the minimal surface technique which is held in place by two distinct oculi, one at the top, and the other at the bottom. The piece is completely held in tension from cables that are attached to the surrounding buildings. Each form is site specific because of the anchor points. 42

Evolo.Xtra Moenia: A Parametric Designed Installation with Multi-color Oculi. http://www.evolo.us/architecture/xtra-moenia-a-parametric-designed-installation-with-multi-color-oculi/ Accessed on 3 May2018

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Xtra Moenia, 2011 http://www.evolo.us/architecture/xtra-moenia-a-parametric-designed-installation-with-multi-color-oculi/

Drawing inspiration from this precedent, one alternative to suspending our structure is to attach the cables on the existing buildings and lamp posts. This not only addresses the issue on the lack of space and congestion but also blurs the lines between the main and the supporting structures, further reinforcing our arguement on using the mesh relaxation technique.

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Xtra Moenia

However, instead of using the minimal surface techni to arrange the scarves and panels, the minimal surface tecnique would be used to derive the grids for the suspension cables to follow.

Nonetheless, one drawback we realised was that it would make the structure very complicated. The convolution of suspension wires would then be the main focus and not the habitat nor the scarves, which steers away from our original intention.

In addition, it could also become too complex such that it becomes physically impossible to create on a smaller scale.

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CONNECTING PARKS Another part of the brief is to connect the three parks (University Square, Lincoln Square and Argyle Square) together. Using the idea of anchor points, we plan to connect the three parks by showing continuity and some resemblance in form.

The idea of suspending panels and scarves would be same across all three locations. However, different anchor points would be used to make each form site specific, so as to respond to its distinct environment.

PARKS

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FURTHER SITE ANALYSIS

HEAT INTENSITY There is a close corrrelation between population density and and heat intensity, which is denoted in the diagram.

CHOSEN AREAS More plants and denser greenery would be used to reduce the urban heat island effect faced in these specific hotspots.

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SECTIONING Radial sectioning would be used to target these areas. Denser sectioning would be added to hotspots.

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IMPRESSION

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SECTIONING Radial sectioning would be used to target these areas. Denser sectioning would be added to hotspots.

LADYBIRD HABITAT

SCARVES MAIN SUSPENSION WIRES

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C3 DES

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SIGN CONCEPT AND PROTOTYPES

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FEEDBACK During the feedback session, our tutor brought up a few points

to take them even if they were up for grabs. A possible solution

concerning the scarves and the ladybird habitat.

rasied was toto package them up in plastic bags. However, this would add more weight to the scarves and simultaneously,

One major problem regarding the scarves was that it would not

increase the urban island heat affect if plastic were to be used.

be practical or realistic to pin them up. Firstly, rain and strong winds could cause them to drop off, which could make a mess

Another aspect that we felt we were lacking in was the interac-

if not cleared up. This would pose as a hindrance to those who

tion between the ladybirds and the structure. The circular tube

are rushing for the tram, which may also cause accidents or

at the middle seemed a little dislodged from the entire structure.

more congestions. Secondly, they are likely to get caught in rain and dust, making it unsanitary. Thus, commuters, are less likely

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River Aire , 2016 http://www.landezine.com/index.php/2016/06/renaturation-of-the-river-aire-geneva/

PRECEDENT Project : River Aire Architect : Group Superpositions Date : 2016

The renaturation of River Aire was a successful attempt at

This project sets itself apart from the rest by showing how there

restoring the historical river back to its ‘original state’ after it was

could be a fair compromise between nature and culture and

heavily canalised in the 19th century. Helmed by Group Super-

how they could influence one another, leading to unpredicted

postions, this project proposed to combine the clear territorial

outcomes.

cut of the canal with a parallel new vast divigation space for the river. By adding diamond-shaped extrusions within the river,

Drawing inspiration from this project, we aim to create a struc-

they were able to not ‘destroy’ the canal, but instead, allow the

ture that does not forcefully push away an impending phenom-

canal to take its new shape naturally and at its own pace. 43

ena. Faced with alarming urbanization, instead of doing our

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River Aire , 2016 http://www.landezine.com/index.php/2016/06/renaturation-of-the-river-aire-geneva/

best to reduce urbanization, we aim to use this as our advantage in retaining or even increasing biodiversity in our city.

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Landezine. River Aire . http://www.landezine.com/index.php/2016/06/renaturation-of-the-river-aire-geneva/ . Accessed on 3 May2018

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PARAMETRIC ALGORITHM MINIMAL SURFACE A different minimal surface script was used instead be-

neighboring buildings, giving us a realistic simulation of the

cause the previous script only allowed 4 points in the same

tensile forces.

plane to be used. This restriction in anchor points made it difficult for us to be site specific, thus we decided to push

With this new script, we had the freedom to choose our an-

it further.

chor points, in terms of number and location. Thus, using the site model we had earlier, we added anchor points to

With this new script, we had the freedom to choose our an-

the top of the lamp posts, exisiting tram stops, and to the

chor points, in terms of number and location. Thus, using

neighboring buildings, giving us a realistic simulation of the

the site model we had earlier, we added anchor points to

tensile forces.

the top of the lamp posts, exisiting tram stops, and to the

Construct Mesh

Deconstruct Mesh

Mesh

Spring rom Mesh

Rest Length Factor Anchor Points

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Kangaroo

RADIAL LINES BASED ON THE DENSITY OF PEDESTRIANS Using the hotspots from the heat intensity diagram as

radial curves. This would allow more ladybird to interact

reference, the position of the central radial curves were de-

with more commuters as these they are correlated to the

termined. In addition, the script below allowed us to control

population density as mentioned earlier. Therefore to make

the distance between each radial curve. Thus to respond

these areas more desirable to the ladybird, the proximity

to the site, we increased the distance between each radial

between these panels are reduced, so as to entrap air more

curve gradually as we move away from the centre. This

efficiently and increase insualtion within these areas.

is to provide more shade at the targeted hotspots so as to reduce the urban heat island effect more significantly.

Eventually, the conic curve was used

Moreover, we intend to have these hotspots to be more highly populated with ladybirds, as compared to the outer

Curve

Offset

A Series

Multiply

Remap

Graph

Domain

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Remap

SECTIONING Radial Lines

Extrude

Deconstruct Brep

Bounding

Brep

Surface Split

Factor

Unit Z

Extrude

Brep/Brep

Spring Surface

Brep

Edges

Curve

EXTRACTING LINES TO OBTAIN INTERSECTING POINTS FOR WIRING

Brep/Brep

Wiring above

Brep/Brep

Wiring below

Brep

Surface / Circle

Shift

Based on the extrusions derived earlier, specific holes

Branch

could be at areas not supported by the waffle configuration.

These holes allow the sus-

Surface

pension wires to run through, providing ample support.

This length of suspension

Unit Z

wires needed could also be

Extrude

derived from this scipt.

Curve Anchor Points

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Point

Box

Deconstruct

Box Corners

Bounding Box

Brep

Cull

Larger

Double sectioning creates a waffle and gridlike configuration. This was not only crucial in creating air pockets but also to hold the structure together, making possibe to fabricate. This distance between each section is based off the script for radial lines that was discussed earlier.

Nonetheless, it should not be too dense as well because the centre might become too heavy for the tensile forces to carry.

Graft

Flip

Evaluate Surface

Surface Closest Point

Deconstruct point

Point

Deconstruct point

Point

Circle

Move

Radius

Unit Z

Distance

Curve

Index

Item

Sort

Point ordered by

Line

Proximity Centre Point

Shift

Top and Bottom

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Length End

PATTERNING For patterning, we used an unrolling script instead of the

To add to the pattern repertoire, image sampling of the

solid difference script used earlier. This script works by

spots of the ladybird was used. Through this script we were

unrolling the radial surface into planar flat surfaces for a

also able to adjust the perforations to fit the exact size of

pattern to be inputted in. Afterwards, it is rolled back to its

teh ladybird, allowing her to burrow into the openings. The

original position with an inprinted pattern. The problem with

size of the anglelicas and nasturtium were also taken into

the earlier script was that it created several errors in baking.

consideration.

In addition, the form was too complex, thus we had to manually apply solid difference to each individual piece.

Brep Path

Branch

Unrolled Brep

Bounding box

Deconstruct Brep

Deconstruct Brep Item

Surface Divide

Cull

Edge Surface

Clean

Surface Closest Point

Equals

Cull

Image Sampler

Clean

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Evaluate (floor (x*4/4)

SURFACE EXTRUSION Using the Lunchbox plug in, this script extrudes the surfaces uniformly and in the direction of the surfaces created, which in this case has a radial configuration. This sets itself apart from the rest because most extrusions are linear, which in this situation, could create an ununifrom extrusion.

This was crucial as it added depth to the structure and made it somewhat ‘solid’, a prerequisite for 3D printing

Surface

Branch

Path

No. of sides

Create Set

Replace

Polygon

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Offset

Distance

Brep

ITERATIONS SPECIES Variable : Number of Sections

n = 10

n = 26

SPECIES Variable : Sectioning Curves

SPECIES Variable : Grid

uv=50

uv=80

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n = 50

n = 100

uv=200

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ITERATIONS SPECIES Variable : Image Sampling

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PROTOTYPES To resolve this issue, I drew inspiration from laundry lines. It stays intact and still actively engages with the environmental conditions. A suspension technique was used, and I have decided to employ that this structure was well Initially, we chose to use perspex as our panel material. Its transparency allows us to to see the growth of the nastarniums and angelicas, as well as the burrowing of ladybirds during winter. However, after adding minor tensile and compressive forces by hand, the panel broke. Though the edges of the panel were joined using the hot glue gun, we wouldl expect similar results with other connection techniques such as the zip teeth technique.

In addition, intrinsic characteristics of perspex would actively contribute to the urban heat island effect, which is contrary to our brief.

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Moving forward, we have decided to use plywood because it is a more sustainable materials as compared to perspex. In addition, plywood is more efficient than perspex in resisting tensile and shear forces.

However, one drawback to using plywood is that it woudl deteriorate at a faster rate when constanly exposed to moisture from tge soil. To improve its durability, marine plywood would be used instead.

Another design problem we realised was that the perforations were far too big even at a 1:2 scale. This made the soile leak out , thus for presentation purposes we had to tape the openings.

Thus, for the nest prototype, the maximum diameter of the openings should be controlled such that it would not surpass 40mm.

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C4 FINAL DESIGN

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FINAL CONCEPT We live in a time where urban expansion is unavoidable as

aphids during the droughts. Thus, we wanted our form to

our population increases expotentially. To make way for this,

mimic a blanket. Blanketing reminds us of a gentle yet vast

we constantly neglect the biodiversity in our environment and

shield that ensures tight security, an apt representation of her

obliviously remove the habitats of various insects, often cre-

graceful demeanour and the extensive protection she gives.

ating this ecological imbalance. Nonetheless, as humans, we have this industrial mindset of rectifying our environmental

Parametrically, we used the method of sectioning to create

misdoings through setting aside new plots of lands for recre-

layes of panels in both directions. It forms this enclosure that

ational parks and adding new trees along the sidewalk. Most

traps air, providing insulation for the nestled ladybirds, whose

attempts of using architecture to preserve biodiversity could

population

be likened to greenwashing, as mentioned in the Orchiskin article by Lily Jenks. Thus through this projects, we would be

For patterning, we created perforations onto the surface of

focusing on merging architecture and fauna seamlessly, in

the structure, allowing plants to grow through. The perfora-

a way that it fulfills our aims; extending our biodiversity and

tions mimick the wall cracks which ladybird often huddle and

reducing the urban heat island effect as noted in the brief.

hide away in to protect themselves from the cold.

Drawing inspiration from her reference to Mother Mary, we wanted to emphasise her graceful yet extensive wipeout of

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SITE PLAN NOT TO SCALE

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WEST ELEVATION

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NOT TO SCALE

SOUTH ELEVATION NOT TO SCALE

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C5 FINAL MODEL

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FINAL PROTOTYPE For our final presentation, we made two prototypes ; one site model and a small portion of the grid structure.

For the site model, we use the laser cutting method to form the base and the surrounding buildings. However, as we were keen to explore a different fabrication method, we 3D printed our final structure, using plastic. The perforations were not included in this structure so as to bring more attention to the tensile structure.

Thus, we created an additional model showing a small portion of our grid structure. For fabrication, we exploded some panels and laser cut them to show the perforations, teeth connections and intersection portion. (discussed individually in the subsequent pages)For the materials, we used plywood to represent marine ply (our desired material). We also used white daffodils to represent the angellica flower.

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PERFORATIONS Learning from our previous prototype, we paid greater detail to the size and the arrangement of the perforations. We adjusted the size of the size of the perforations such that it fits the size of the ladybird, allowing her to burrow into the openings. The size of the anglelicas and nasturtium were also taken into consideration.

Reducing the size of the perforations also prevented the soil form leaching out, a problem we faced with the ealier prototype. Therefore, this prototype was successful in a way that the soil was able to stay in place without tape.

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CONNECTIONS Another lesson we learnt from our previous prototype was the importance of the connections. The perspex prototype showed that using the hot glue gun to join the edges gave inadequate support to hold the heavy soil, especially, if they are in suspension and subjected to strong winds Thus, we generated interlocking teeth between the edges of each panel by using the fabricational scripts. In comparison with the hot glue gun, this proper connection would be more effective in resisting harsh weather conditions.

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INTERSECTING PORTION One aspect we failed to consider in the first prototype was how the panels would intersect within the grid structure.

Though it showed some similarity to the interlocking teeth script used for the connections, we were unable to derive a grasshopper script to address this issue. Thus, we did it manually in Rhino, where we created incisions and used the interlocking method.

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SITE MODEL Our model was far too big for the casting bed, thus we had to split the structure up into 4 seperate portions. Because of its intricacy, the resulting surfaces were not entirely smooth, which made glueing the different portions a challenge.

Nonetheless, we were really pleased with the final outcome.

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C6 IMPROVEMENTS

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PRESENTATION FEEDBACK After our final presentation, we received several positive feed-

laxation component. This would bring the bulk of the ladybirds

back and were very proud of our outcomes.

closer to the commuters, which may faciliate the interaction between them. With the outer radial panels still fixed in the same

Nonetheless, the guest crits gave a few pointers for improve-

place, there is a lower likelihood of the structure disrupting the

ment.

tram lines.

Firstly, they felt that there is a lack of interaction between the

Secondly, one guest crit suggested for us to vary the thickness

commuters and the ladybirds. The structure is held too high

of each ‘flower pot’ so as to add variety and to push our grass-

above them, making it impossible for pedestrians to take a

hopper script to the next level.

good look at them. Initially, my partner and I wanted to bring the structure closer to the ground, but were worried about how it

Lastly, another guest crit told us to consider how our strcuture

may disrupt the tram lines and power lines above. Nonetheless,

would change and deteriorate over time. He also suggested that

after thinking about it, a possible solution is to lower the inner

we come up with solutions to retain our structure.

radial panels at the hotspots, thus further exaggerating the re

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DETERIORATION

In the beginning, the marine ply-wood is brightly co-

However, after plants have b

loured and untainted.

to sprout, the plywood starts due to moisture.

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been added and they start

After the plants have sprouted and start to engulf the

s to wear out. It gets darker

structure, the structure deteriorates even more, causing it to darken to the extent of decay. Eventually, the structure will fail, and thus must be removed.

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LEARNING OUTCOMES Objective 1

Objective 3

Interrogating the brief by considering the process of brief for-

Developing skills in various three dimensional media and

mation in the age of optineering enabled by digital technologies.

specifically in computational geometry, parametric modelling, analytical diagraming and digital fabrication.

Through part C, I was able to conduct a deeper analysis into the given brief and identify the points that I missed out on in Part B.

Through the use of rhino, grasshopper, kangaroo and lunchbox,I

Part C also gave us more time to do diagraming, which helped

was able to further develop my skills and communicate my

pushed our design further. During this period, we received very

ideas through the the sketchbook and technical development.

valuable feedback from our tutor, which helped us to answer

In addition, learning more about these softwares eased the 3D

the bried despite taking a different route from everyone else.

printing process to a huge extent.

Objective 2 Developing an ability to generate a variety of design possibilites for a given situation by introducing visual programming,

Objective 4

algorithmic design and parametric modelling with their intrinsic

Developing an understanding of relationships between architec-

capactities for extensive design space exploration.

ture and air through interrogation of design proposal as physical models in atmosphere

From week to week, though our grasshopper script changed dramatrically, our final outcome was very much similar to our

Parametric design allows us to create unpredictable structures

initial sketch in our heads. This was because our earlier scipts

that may not be site specific in the beginning, which follows the

posed a lot of restrictions, for instance, our first mesh relaxation

‘abstract’ connotation to ‘air’. Thus in the process, turning these

script for part C only allowed 4 anchor points, all of which must

models into physical prototypes was a huge challenge. It is only

lie in the same plane. Though the finalscript showed no resem-

through extensive refinement that we could bring our design

blance to the first, it works similar to the first in a way that it

into reality.

uses anchor points to define the surface. The new script offered us more freedom in allocating the anchor points, which helped us create an outcome that is site specific.

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Objective 5 Developing the ability to make a case for proposals by developiing critical thinking and encouraging construction of rigorous

Objective 7

and persuasive arguements informed by the contemporary

Develop foundational understandings of computational geome-

architectural discourse.

try, data structures and types of programming

The final presentation was our last opportunity to propose our

At the beginning, I had no compuational design background.

design and receive feedback. Due time management, not all our

However throughout the semester, I have gained more confi-

ideas were well delivered to the panel. Nonetheless, the guest

dence and improved my computational skills through the help

crits touched on a few aspects that we were lacking in, which

of my partner and the online tutorials. Nonetheless, I feel that

shows how design is a never-ending process and that there will

there is so much more to learn and that I have only touched the

always be rooms for improvement.

surface.

Objective 6

Objective 8

Develop capabilities for conceptual, technical and design analy-

Begin developing a personalised repertoire of compuational

ses of contemporary architectural projects

techniques substantiated by the understanding of advantages, disadvanatges and areas of application.

Through our design, we faced a constant push and pull between our grasshopper outcomes and our concept. There were

In comparison to Rhino, using a grasshopper definition proved

many outcomes that we planned in our head, but we failed to

to be the more efficient as it has a smaller error margin. Thus,

translate it accurately due to our inexperience in grasshopper

it is less likely face fabrication issues. Nonetheless, having said

and the restrictions posed by fabrication. Thus, we constantly

that, the smaller error margin makes deriving a successful form

refered to precedents to offer us a solution and some direction-

to bake far harder.

There were many good precedents that we referred to such as Built to Wear and Xtra Moenia when we were stuck at the form finding and constructablity phase. The River Aire was also a precedent that gave us direction for our concept. It showed us how there could be a fair compromise between our contemporary development and nature, without falling into the trap of greenwashing.

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Text 41

Archdaily. Built to Wear-Ball Nogues Studio. https://www.archdaily.com/44739/built-to-wear-ball-nogues-studio/. Accessed on 3

May2018 42

Evolo.Xtra Moenia: A Parametric Designed Installation with Multi-color Oculi. http://www.evolo.us/architecture/xtra-moenia-a-para-

metric-designed-installation-with-multi-color-oculi/ Accessed on 3 May2018 43

Landezine. River Aire . http://www.landezine.com/index.php/2016/06/renaturation-of-the-river-aire-geneva/ . Accessed on 3 May2018

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C7 REFERENCES Images Built to Wear , 2009 https://www.archdaily.com/44739/built-to-wear-ball-nogues-studio Built to Wear , 2009 https://www.archdaily.com/44739/built-to-wear-ball-nogues-studio Xtra Moenia , 2011 http://www.evolo.us/architecture/xtra-moenia-a-parametric-designed-installation-with-multi-color-oculi/ Xtra Moenia , 2011 http://www.evolo.us/architecture/xtra-moenia-a-parametric-designed-installation-with-multi-color-oculi/ River Aire , 2016 http://www.landezine.com/index.php/2016/06/renaturation-of-the-river-aire-geneva/ River Aire , 2016 http://www.landezine.com/index.php/2016/06/renaturation-of-the-river-aire-geneva/

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ALGORITHMIC

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SKETCHBOOK

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WEEK 1 The brief for week 1 was to create a bus stop using the online grasshopper tutorials. When given this topic, the first thing that came to my mind was the long waiting time. Usually, a stereotypical bus stop dons a simple linear appearance: a rectangular roof and a long bench. In my opinion, this seating arrangement discourages interaction between waiting passengers, making it even more difficult for one to kill the waiting time. Thus using voronoi 3D, I have arranged my structure in such a way that it encourages communication. The blocks confine passengers to sit in such a way that they face one another in an indirect manner, in hopes of giving one an opportunity to spark a conversation. Inspired by Sou Fujimoto’s Branden bus stop design, the openings created by the upper blocks are arranged in such a way that it offers different views of the surrounding landscape.

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WEEK 2 The brief for week 2 was to create a tram stop that reflects the

ated by the orientation of during the waggle dance. If she wag-

behaviour of our chosen insect. Jamie and I have chosen the

gles in a vertical manner, it means that the food source could be

Common European Bee and Royal Park as our site. Despite be-

found in the direction of the sun.

ing disliked by many, the bee plays a significant role in our ecosystem. Through pollination, it helps plants reproduce, indirectly

The series of planes could be identified with the fluttery be-

sustaining the human race by protecting our food source. One

haviour of the bees during the waggle dance. In addition, all the

behaviour that I have found interesting is the waggle dance that

planes are arranged in a parallel manner that follows the planar

it performs. This sophisticated form of communication system

and lofted surface. This highlights the directional aspect of the

involves a bee performing a series of movements that maps the

dance. Lastly, the bouncing motion from flower to flower is

location of the patches of flowers that are located further away

incorporated through the erratic curves of the lofted surface.

from the hive. For instance, the longer the duration of the dance, the further its distance from the hive. The direction is also indic-

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WEEK 3 This week we were tasked to design patterns and tiles using the online grasshopper tutorials. For this assignment, I have decided to explore the geomatric pattern of honey combs.

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