Architecture Design Studio Air - Part B (ABPL30048) by MELISSA CHONG

STUDIO AIR

JOURNAL

MELISSA CHONG / 864703

TUTOR : MATTHEW DWEYER

CONTENTS

B1 RESEARCH FIELD PATTERNING

4 6

PRECEDENT

CASE STUDY 1.0: DE YOUNG MUSEUM

ITERATIONS

SUCCESSFUL ITERATIONS

CASE STUDY 2.0: LOUVRE MUESEUM

REVERSE ENGINEERING SEQUENCE

OUTCOME

TECHNIQUE DEVELOPMENT

INITIAL RESPONSE TO BRIEF

40 44

ITERATIONS

56 SUCCESSFUL ITERATIONS B5

TECHNIQUES : PROTOTYPES

TECHNIQUE : SITE AND PROPOSAL

CONCEPT DIAGRAMS

PLAN

WEST ELEVATION

PERSPECTIVE

LEARNING OUTCOMES

B8 APPENDIX B9 REFERENCES

106

B1 RESEARCH FIELD

B1 PATTERNING

Recently, sustainability has been a strong driving force for the

These physiological and behavioural outcomes prompts the

Lastly, patterning could influence performance design. They

design and architecture we see today. But how exactly should

recipient to respond accordingly, which sets the tone of the

could be manipulated in such a way that it supports the func-

we define sustainability? The many notions to sustainability re-

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

tion of the building and biophilia. One apt case study that fulfils

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

project, strong black and white striped wallpaper was added

these goals is the Orkid-in project by Lily Jencks.32 Forming

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

to the marketing services department. Through the record-

the ornamental facade of a hospital, this installation performs

pertain environmental concerns?

ings from the surveillance cameras, it was concluded that 24

a climate modulating interface between the interior and the

percent of the users exhibited avoidance behaviours. This refers

exterior using a series of hydronic pipes. Environmentally,

Ornamentation, especially patterns, are often disregarded as a

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

re-engineering the climate control system reduces the total

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

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

energy used by the Presbyterian Hospital, which is one of the

sions of function or utility. Nonetheless, after conducting further

21 percent less likely to engage with others in conversation and

sustainability goals. In terms of patterning, they are arranged

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

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

and bent in such way that it blurs the facade into a thick atmo-

that ornamentation plays a strong role in architecture and could

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

sphere of different environmental qualities whilst still serving as

indeed bring us a step closer to our sustainability goals.

one another.

pockets of seating with various degrees of atmospheric effects.

For instance the cloud forest climate area is lightly misted with With reference to Felix Guattari’s sustainability philosophy, sus-

Patterning could also affect our experiences. With powerful

a cool atmosphere of dappled light. These piped seats lower

tainability could be broken down into three main components,

physical, psychological and cultural associations, patterns stim-

the temperature and light misting adds moisture into the air,

subjective experiences, creating social relationships and per-

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

creating a ‘healing’ oasis that deviates from the conventional

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

our mentality, which carries through and influences the entire

waiting area. In addition, this project simulates environments

how patterning in architecture could address these criteria.

experience. For instance, as we look around a dental office cov-

that exist from all around the world, ranging from the Cloud

ered with dated texture vinyl, vaguely reminiscent of the burlap

forest in Argentina to the semi-arid forest in Southern Morocco.

Patterning could affect social relationships. Likened to a

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

These forms and phenomenological experiences are recreated

campfire, patterning is capable of ‘forcefully’ creating intangible

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

through the arrangement of the piping, lighting and surface

barriers that dictate space, thus possibly influencing the way

distrust could also psychologically ‘exaggerate’ the pain during a

texture. The precise calibration of these climates emphasises

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

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

the importance of its engineered performance, allowing rare

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

influence our experiences.

and sensitive orchids to thrive and flourish.

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

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

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 Melbourneâ&#x20AC;&#x2122;s progression.

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

33 The Conversation, Melbourneâ&#x20AC;&#x2122;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

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.

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

B2 CASE STUDY 1.0

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

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

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.

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

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.

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

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

n=0.05

n=0.1

n=0.3

n=0.5

n=0.7

n=0.95

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

n=0.15

n=0.3

n=0.5

ITERATIONS SPECIES Multiplying the number of dimples and protrusions

n=4

n=10

n=20

n=30

n=35

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

n=10

n=12

n=25

n=40

n=50

n=28

n=70

n=100

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

n=7

n=14

SUCCESSFUL ITERATIONS

Aesthetics

Fabrication

Relevancy

Light and Shadow

This iteration involves the manipulation of the inner radius.

This iteration was one of my favourites because it challenged

This iteration was chosen because it deviates greatly from the

This iteration is another favourite because of the shadow it

Here, the inner radius of both protrusions and dimples are

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

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

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

simultaneously increased to a great extent such that it is even

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

select and manipulate specific protrusions and dimples whilst

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

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

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

maintaining the grid arrangement. It creates a stronger visual

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

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

it creates a stronger visual impact because the height of each

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

arrangement, the number of dimples running in the vertical

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

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

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

direction is incresed, and the dimples running in the horizontal

perforations.

tion, unlike its original 2 dimensional flattened surface.

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

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.

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

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

Furthermore, in relation to light and shadows, the overlapped

‘pockets’ that could provide a habitat for the insects. In addition,

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

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

protrusions provide more shade, encouraging individuals to

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

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

both humans and insects roaming underneath the structure, it

’huddle’ and congregate, which could faciliate interaction and

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

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

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

inititiate conversations between individuals waiting for the tram.

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

fully address the brief on bringing humans and insects together.

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

Nonetheless, this iteration does not fully address the brief on

on bringing humans and insects together. This is because the

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

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

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

suggested habitat for the insect (above) is strongly seperated

strongly seperated from the individuals waiting at the tram stop

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

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

from the individuals waiting at the tram stop (underneath)

(underneath)

which having a similar form of polygon with concaved sides.

the individuals waiting at the tram stop (underneath)

from the rest and pushes the boundaries of perforations.

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

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

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

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,

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

REVERSE ENGINEERING THOUGHT PROCESS

Anchor

Wind

Kangaroo Bouncy solver

Help of Rhino

13 Curves derived

Mesh

4 Surface points

Build surface

Web face polysurface

Line

Patch

Divide

Sbox

Morph geometry into dome

Pattern

Bounding Box

Surface difference

Extrude

REVERSE ENGINEERING THOUGHT PROCESS

SURFACE POINT AND SUR-

MESH AND WIND

FORM-FINDING

MANUAL DELETION

PATCHING

FACE CREATION 4 points were chosen to determine

The surface was divided into grids and

To get to this stage, kangaroo was

Through Rhino, the lines in one

The lines were patched to

and build the surface.

the wind command wasintroduced to

paused and subsequently baked.

direction were manually joined.

form a ‘lofted’ surface.

‘blow’ the surface up. The kangaroo

The perpendicular set of lines were

command was set to ‘true’ to obtain one

deleted.

form from the several dynamic iterations.To get to this stage, kangaroo was paused and subsequently baked.

FRACTAL PATTERN

DENSITY AND THICKNESS

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.

END PRODUCT

selected geometry onto the curved surface.

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 â&#x20AC;&#x2DC;blowâ&#x20AC;&#x2122; 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.

B4 TECHNIQUE DEVELOPMENT

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?

INITIAL RESPONSE TO BRIEF 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.

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.

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

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.

ITERATIONS

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

ITERATIONS

SPECIES Variable: Shape of surface likened to a caternary

ITERATIONS SPECIES Variable: Density of pattern

n=7

n=10

n=15

n=25

n=20

SPECIES Variable : Shape of holes within surface

SPECIES Variable : Height of pattern (random function)

ITERATIONS SPECIES Variable : Pattern

ITERATIONS SPECIES Collaging and Layering -same pattern

ITERATIONS SPECIES Collaging and Layering - different patterns

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

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

Relevancy

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

draping of fabric that I wanted to bring out.

it to have more ground contact. Its close proximity allows individ-

Farbication-wise, this structure would be rather constructable

of creating stronger and more direct barriers that ‘forces’ people to

as there is ground contact, which could help support the arching structures above. In addition, the curvature is more one direction-

uals to engage more with the structure physically, under the guise congregate

al, thus could be achieved with sturdier materials.

In terms of fabrication, the more ground contact and fewer sus-

As for light and shadows, the variations in patterning helps it cast

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

a variety of dyamic shadows that is capable of changing with reference to the sun path.

pended components make its easier for it to be structurally sound. iteration. For light and shadows, the variation in thicknesses could add more dimension to the patterns form in comparison with the first

iteration

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

Relevancy

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.

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

Relevancy

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.

B5 TECHNIQUE : PROTOTYPES

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.

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.

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.

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.

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.

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

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.

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.

B6 TECHNIQUE : PROPOSAL

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.

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.

NASTARIUM Composition-wise, I selected the Nastarium plant because of its cohesiveness in form with my structure.The layering of the leaves in the Nastarium plant mimicks the collage method I used, which somewhat helps dissolve my structure, in a way that both flaura and man-made forms becomes one. Other than aesthetics, Nastariums are able to thrive in poor soil conditions, thus requires less maintenance. Its strong fragrance attracts lady birds and other pollinators. In addition,the underside of its large leaves provides a suitable surface for lady bird to lay their eggs and reproduce. This is with hopes of encouraging them to make this tram stop their home, seemlessly bringing ladybirds to live harmoniously with people. BIRD OF PARADISE Similar to Nasturiums, I have specifically chosen the Bird of Paradise because of its high resistance to more drastic and temperate climatic condtions, which is suitable for the Australian weather. It also requires less maintenance and blooms during spring, summer, and at times winter, which allows both indviduals and lady birds to enjoy them throughout the year. In addition, its bright colours gives energy to the area, which relates well to my intentions of bringing life whilsts still keeping a graceful and soft demeanor through the canopy-like structure. With blooms perched on long stems, it resembles the crest of tropical birds, peeking through the leaves which add a playful touch to the area. 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

The Bird of Paradise is also very succeptible to pests which serves

being blocked.

as a great food source for ladybirds. This is with hopes of encouraging them to make this tram stop their home, seemlessly bringing ladybirds to live harmoniously with people.

TRAM LINE

SQUARE

SWANSTON STR EET

LINCOLN

PELHAM STREET

CANADA

LANE

B7 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.

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 â&#x20AC;&#x2DC;lone gunâ&#x20AC;&#x2122; 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.

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,

B8 APPENDIX

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B9 REFERENCES Text

Images

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

The Portrait Building, 2017

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30 &31

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

The Portrait Building, 2017

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

https://62e528761d0685343e1c-f3d1b99a743ffa4142d9d7f1978d9686.ssl.cf2.rackcdn.com/files/75183/area14mp/image-20150318-

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

12105-ux2xzk.jpg

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

De Young Museum, 2005

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

https://zenmindmaterialworld.files.wordpress.com/2012/06/dsc_0526b.jpg

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

De Young Museum, 2005 metric-modeling-in-design/. Accessed on 15 April 2018 38

Louvre Abu Dhabi, 2017

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

https://zahner.imgix.net/3db59c32-c7e6-4411-8fc5-a56c57ece810/perforated-metal-trees.jpg?w=1920&h=1080&fit=min https://www.archdaily.com/883157/louvre-abu-dhabi-atelier-jean-nouvel Louvre Abu Dhabi, 2017

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

https://www.archdaily.com/883157/louvre-abu-dhabi-atelier-jean-nouvel

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-

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